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Digitized  by  the  Internet  Archive 
in  2018  with  funding  from 
Getty  Research  Institute 


https://archive.org/details/indiansbookofferOOburl_O 


THE  INDIANS'  BOOK 

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THINGS  OF  THE  OLDEN  TIME 

Painted  by  Hiamovi  (High  Chief)  and  his  wife  Wowesta  (White 

Buffalo  Woman),  Cheyenne  Indians. 

A.  1.  Painted  by  Hiamovi,  is  a  case  for  a  bow  and  arrows. 

It  was  slung  on  the  back  by  passing  the  loop  over  one 
shoulder.  The  bow  was  carried  in  the  long  upper  part 
of  the  case,  the  arrows  in  the  shorter  part  below,  the 
claws  of  the  mountain-lion  hung  down  as  ornaments. 

\  2  Painted  by  Hiamovi,  is  a  screen  ornamented  with  por¬ 
cupine-quill  work.  Such  screens  were  tipi  decorations 
in  old'  times,  and  hung  on  the  tipi-wall  back  of  the  bed. 

B.  Painted  by  Wowesta,  is  a  bag  of  buffalo-hide,  painted 
and  decorated  with  buckskin  fringe.  Such  bags  were 
used  for  carrying  wild  cherries. 

C  Painted  by  Hiamovi,  is  a  head-dress  case  in  which  was 

carried  the  war-bonnet  or  other  head-dress;  upon  the 
case  are  painted  deer-tracks  and  stars. 

D.,  E.  Painted  by  Wowesta,  are  satchels  of  painted  buffalo- 
hide  (parfleches). 

F  Painted  by  Hiamovi,  is  a  satchel  of  buffalo-hide  dec¬ 

orated  with  porcupine-quill  work,  and  black  horse¬ 
hair  trimmings. 

G  Painted  by  Hiamovi,  is  a  chief’s  pipe.  The  bowl  is  of 

pipe-stone,  the  stem  is  of  wood  decorated  with  bead- 
„ — L-  with  streamers  of  buckskin  and  horse-hair. 


Copyright,  1907,  by  Natalie  Curtis. 


All  rights  reserved. 
Published  September,  1907. 


THsaenYCi»re* 

LIBRARY 


CONTENTS 


INTRODUCTION . 

EASTERN  INDIANS 

Wabanaki  .  .  >.  . . 

PLAINS  INDIANS 

Organizations  of  the  Plains  Indians 
The  Holy  Man  or  “Medicine  Man” 

Dakota  .  .  .  .  . . 

Pawnee  .......... 

Cheyenne  .  . 

Arapaho  .......... 

Kiowa  .......... 

LAKE  INDIANS 

Winnebago  ......... 

NORTHWESTERN  INDIANS 

KwakiutI  . . 

SOUTHWESTERN  INDIANS 

Pima  ........... 

Apache  . . 

Mojave-Apache . 

Yuma . . 

Navajo  .......... 

PUEBLO  INDIANS 

The  Pueblo  Indians  ..... 
Zuni  ........... 

San  Juan  . 

Acoma  .......... 

Laguna  .......... 

Hopi  ........... 

APPENDIX . 


PAGE 

XXI 


1 


31 

32 
35 
91 

145 

195 

219 


241 


295 


.  311 
.  321 
.  327 
.  337 
.  345 


.  423 
.  427 
.  445 
.  445 
.  459 
.  471 

.  533 


INDEX 


561 


FOREWORD 


By  Hiamovi  (High  Chief) 

(Chief  among  the  Cheyennes  and  the  Dakotas.) 

To  the  Great  Chief  at  Washington ,  and  to  the  Chiefs  of  Peoples  across  the  Great  Water 

This  is  the  Indians'  Book 

Long  ago  the  Great  Mystery  caused  this  land  to  be,  and  made  the  Indians  to 
live  in  this  land.  Well  has  the  Indian  fulfilled  all  the  intent  of  the  Great  Mystery 
for  him.  Through  this  book  may  men  know  that  the  Indian  people  was  made  by  the 
Great  Mystery  for  a  purpose. 

Once,  only  Indians  lived  in  this  land.  Then  came  strangers  from  across  the 
Great  Water.  No  land  had  they;  we  gave  them  of  our  land.  No  food  had  they; 
we  gave  them  of  our  corn.  The  strangers  are  become  many  and  they  fill  all  the 
country.  They  dig  gold — from  my  mountains;  they  build  houses— -of  the  trees  of 
my  forests;  they  rear  cities — of  my  stones  and  rocks;  they  make  fine  garments — from 
the  hides  and  wool  of  animals  that  eat  my  grass.  None  of  the  things  that  make 
their  riches  did  they  bring  with  them  from  beyond  the  Great  Water;  all  comes  from 
my  land,  the  land  the  Great  Mystery  gave  unto  the  Indian. 

And  when  I  think  upon  this  I  know  that  it  is  right,  even  thus.  In  the  heart  of 
the  great  Mystery  it  was  meant  that  stranger-visitors — my  friends  across  the  Great 
Water — should  come  to  my  land;  that  I  should  bid  them  welcome;  that  all  men 
should  sit  down  with  me  and  eat  together  of  my  corn.  It  was  meant  by  the  Great 
Mystery  that  the  Indian  should  give  to  all  peoples. 

But  the  white  man  never  has  known  the  Indian.  It  is  thus:  there  are  two  roads, 
the  white  man's  road,  and  the  Indian's  road.  Neither  traveller  knows  the  road  of  the 
other.  Thus  ever  has  it  been,  from  the  long  ago,  even  unto  to-day.  May  this  book 
help  to  make  the  Indian  truly  known  in  the  time  to  come. 

The  Indian  wise-speakers  in  this  book  are  of  the  best  men  of  their  tribes.  Only 
what  is  true  is  within  this  book.  I  want  all  Indians  and  white  men  to  read  and 
learn  how  the  Indians  lived  and  thought  in  the  olden  time,  and  may  it  bring  holy- 
good  upon  the  younger  Indians  to  know  of  their  fathers.  A  little  while,  and  the  old 
Indians  will  no  longer  be,  and  the  young  will  be  even  as  white  men.  When  I  think, 
I  know  that  it  is  the  mind  of  the  Great  Mystery  that  white  men  and  Indians  who 
fought  together  should  now  be  one  people. 


There  are  birds  of  many  colors — red,  blue,  green,  yellow — yet  it  is  all  one  bird. 
There  are  horses  of  many  colors — brown,  black,  yellow,  white — yet  it  is  all  one  horse. 
So  cattle,  so  all  living  things — animals,  flowers,  trees.  So  men:  in  this  land  where 
once  were  only  Indians  are?  now  men  of  every  color — white,  black,  yellow,  red — yet 
all  one  people.  That  this  should  come  to  pass  was  in  the  heart  of  the  Great  Mystery. 
It  is  right  thus.  And  everywhere  there  shall  be  peace. 


V  ^  C  /U 


The  Indians  are  the  authors  of  this  volume.  The  songs  and  stories  are  theirs; 
the  drawings,  cover-design,  and  title-pages  were  made  by  them. 

The  work  of  the  recorder  has  been  but  the  collecting,  editing,  and  arranging  of  the 
Indians'  contributions. 


MUSIC 


The  songs  in  this  book  are  written  after  a  new  manner  In  that  corresponding 
musical  phrases  are  placed  one  beneath  another  like  lines  of  verse.  This  system 
makes  the  form  of  the  song  to  flash  before  the  eye  like  the  form  of  a  stanza  In  poetry. 
For  this  Idea,  the  recorder  Is  Indebted  to  Mr.  Kurt  Schindler. 

A  general  characteristic  of  Indian  singing  Is  a  rhythmical  pulsation  of  the  voice 
on  sustained  notes.  This  pulsation  Is  expressed  In  this  book  wherever  tied  notes 
have  vocables  or  syllables  written  out  beneath  them . 

A  rhythmical  peculiarity  of  Pueblo  music  Is  a  sudden  holding  back  of  the  time 
during  one,  two,  or  more  bars.  This  effect  Is  In  no  sense  a  rallentando.  It  Is  an 
abrupt  change  of  tempo  with  no  loss  of  rhythmical  precision.  At  the  end  of  the 
slower  bars  the  first  tempo  Is  resumed  with  the  original  Impetus.  Such  change  Is 
merely  a  leap  from  one  tempo  to  another  and  back  again.  As  It  was  Impossible 
wholly  to  express  this  peculiarity  In  the  usual  musical  symbols,  brackets  have  been 
placed  over  the  slower  bars ,  that  the  eye  may  catch  at  a  glance  the  change  of  time. 
The  exact  tempi  are  designated  by  metronome  marks.  For  further  details  In  regard 
to  Indian  music,  see  Introduction,  page  xxvl. 


SONGS 


(The  left-hand  column  of  figures  refers  to  pages  of  printed  text  or  of  explanatory  description, 
the  middle  column  to  pages  of  music,  the  right-hand  column  to  pages  of  text  with  interlinear 
translations,  in  the  appendix. ) 


WABANAKI 

PAGES 

Penobscot  Song  of  Greeting. — I.  .............  7  14 

Penobscot  Song  of  Greeting. — II . .....7  15 

Passamaquoddy  Song  of  Greeting. . 7  16 

Penobscot  Barter  Dance-Song . 8  17 

Penobscot  War-Dance  Song . . ....818 

Penobscot  Dance-Song  ................  9  19 

Penobscot  Medicine-Song.  ...............  9  21 

Maliseet  Dance-Song  .................  10  23  535 

Passamaquoddy  Dance-Song. — I . .  .  10  24  535 

Passamaquoddy  Dance-Song. — II.  . . 25 

Passamaquoddy  Dance-Song. — III.  . . 26 

Maliseet  Love-Song . 13  27  535 

DAKOTA 

Wanagi  Wacipi  Olowan.  Song  of  the  Spirit -Dance  (Ghost -Dance 

Song). — I.  ...................  47  65  536 

Wanagi  Wacipi  Olowan.  Song  of  the  Spirit -Dance  (Ghost -Dance 

Song) —II .  48  66  536 

Wanagi  Wacipi  Olowan.  Song  of  the  Spirit -Dance  (Ghost -Dance 

Song).— Ill .  48  67  536 

Wicasa-Atawan  Olowan.  Song  of  the  Seer  .........  49  68  536 

Sunka  Olowan.  Song  of  the  Dog  Society ..........  50  69 

Tasunke-ska  Olowan.  Song  of  the  White-Horse  Society  .  .  .  .  50  71  537 

Tokala  Olowan.  Song  of  the  Fox  Society  . . .  51  73  537 

Tokala  Wacipi  Olowan.  Dance-Song  of  the  Fox  Society  ....  51  75  537 

Wakan  Olowan.  Holy  Song  (Medicine-Song)  ........  53  77  539 

Sungmanitu  Olowan.  Wolf  Song  . . .......  54  78 

Olowan.  Song  ...................  55  79  540 

Omaha  Wacipi  Olowan.  Omaha  Dance-Song. — I.  .  .  .  ....  55  80  540 

Omaha  Wacipi  Olowan.  Omaha  Dance-Song. — II.  ......  56  81  540 

[ix] 


THE  INDIANS’  BOOK 


Wioste  Olowan,  Love-Song. — I.  ........... 

♦ 

56 

PAGES 

82 

540 

Wioste  Olowan,  Love-Song.- — II.  ........... 

♦ 

56 

83 

540 

Wioste  Olowan,  Love-Song. — III.  .......... 

57 

84 

540 

Wioste  Olowan,  Love-Song.  -IV.  ........... 

♦ 

57 

85 

541 

Wioste  Olowan,  Love-Song. — V.  ........... 

* 

58 

86 

541 

Sunka  Olowan.  Song  of  the  Dog-Feast  ........ 

59 

88 

541 

Okicize  Olowan.  War-Song ............. 

♦ 

60 

89 

541 

PAWNEE 

Tawi’  Kuruks.  Song  of  the  Bear  Society. — I.  ...... 

105 

117 

541 

Tawi’  Kuruks.  Song  of  the  Bear  Society. — II. ...... 

♦ 

108 

120 

542 

Iruska.  Song  of  the  Iruska.-  I.  ..........  . 

♦ 

109 

121 

542 

Iruska.  Song  of  the  Iruska. — II.  .......... 

♦ 

110 

122 

542 

Iruska.  Song  of  the  Iruska  (War-Dance  Song). — :III.  .  .  . 

* 

110 

124 

542 

Iruska.  Song  of  the  Iruska  (Song  of  the  Corn-Offering).-  IV. 

♦ 

110 

126 

542 

Hao-Wari.  Lullaby  . . . 

♦ 

128 

Skiriki.  Coyote  Warrior-Song  ............ 

♦ 

112 

129 

542 

Sakipiriru.  Young  Dog  Dance-Song  .......... 

♦ 

112 

131 

543 

Kisaka.  Song  of  Rejoicing  and  Thanksgiving  ...... 

113 

133 

543 

Kisaka.  Woman’s  Song  of  Rejoicing  ......... 

♦ 

135 

KitzicAta.  Song  of  the  Lance  Ceremony  ........ 

♦ 

114 

136 

543 

Kehare  Katzaru.  Song  of  the  Spirit  -  Dance  (Ghost  -  Dance 

Song). — I.  . . . 

114 

139 

543 

Kehare  Katzaru.  Song  of  the  Spirit  -  Dance  (Ghost  -  Dance 

Song).- — II . . 

115 

140 

543 

Kehare  Katzaru.  Song  of  the  Spirit  -  Dance  (Ghost  -  Dance 

Song). — III.  ................ 

♦ 

115 

141 

543 

Kehare  Katzaru.  Song  of  the  Spirit  -  Dance  (Ghost  -  Dance 

Song). — IV.  . . . 

♦ 

115 

143 

544 

CHEYENNE 

Ohwiwi  No-otz.  Song  of  the  Offering  Ceremony  (Sun-Dance  Song) 

151 

166 

Mahoeva  No-otz.  Buffalo-Dance  Song . . 

♦ 

152 

168 

Wuc/itchse  Etan  No-otz.  Song  of  the  Red  Fox  Society  .  . 

♦ 

153 

169 

544 

Hinimiyotzu.  Song  of  the  Bow  and  Arrow  Society  .... 

♦ 

171 

Hohiotsitsi  No-otz.  Morning  Song . . 

♦ 

153 

172 

544 

Aotzi  No-otz.  Song  of  Victory.  I.  .......... 

155 

174 

544 

Aotzi  No-otz.  Song  of  Victory. — II.  ......... 

. 

155 

176 

544 

Aotzi  No-otz.  Song  of  Victory. — III.  .  . . 

• 

157 

178 

544 

Nai  No-otz.  Song  of  Healing  (Medicine-Song)  ...... 

160 

179 

544 

Wawahi  No-otz.  Swinging  Song . 

♦ 

160 

180 

545 

Meshivotzi  No-otz.  Baby-Song  (Lullaby)  ....... 

♦ 

160 

181 

545 

[xl 


SONGS 


PAGES 

Nu-u-sinim  No-otz.  Hand-Game  Song. — I . .161  182 

Nu-u-sinim  No-otz.  Hand-Game  Song. — II.  .......  1 61  183 

Nu-u-sinim  No-otz.  Hand-Game  Song. — III . 161  184 

Nu-u-sinim  No-otz.  Hand-Game  Song.— IV . 161  185 

Nu-u-sinim  No-otz.  Hand-Game  Song. — V.  . . 161  186 

Nu-u-sinim  No-otz.  Hand-Game  Song. — VI . 161  187 

Mata  No-otz.  Song  of  the  Mescal  Rite  . . 164  188 

Mata  No-otz.  Song  of  the  Mescal  Rite  .  . . .  164  190 

Mata  No-otz.  Song  of  the  Mescal  Rite . 164  192 

ARAPAHO 

Hasse-hi  Naad.  Song  of  the  Buffalo-Hide  Ceremony. — I.  ...  198  203  545 

Hasse-hi  Naad.  Song  of  the  Buffalo-Hide  Ceremony.— II.  .  .  199  204 

HacAe-hi  Naad,  Jac/iu-Naad.  Wolf -Song,  or  Comanche-Song  .  .  199  206  545 

Kainawad  Naad.  Song  of  the  Spirit-Dance  (Ghost-Dance  Song) .  200  208  545 

Ho  Nawad  Naad.  Crow-Dance  Song  . . .  201  209  545 

Nakahu  Naad.  Lullaby  ...............  201  211  545 

Hac/iayac/w  Naad.  Song  of  the  Mescal  Rite . .  212 

Gochoti  Naad.  Hand-Game  Song  . . 202  213  546 

Hichaac/iuthi.  Song  of  the  Club  Society  .........  202  215  546 

KIOWA 

Gomda  Daagya.  Wind-Song. — I.  . . .  224  230  546 

Gomda  Daagya.  Wind-Song.— II.  .  . . 224  231  546 

Gomda  Daagya.  Wind-Song. — III.  . . 225  232  546 

Song  of  the  Mescal  Rite  ...............  233 

Koalda  Daagya.  Begging-Song  . . 226  235  547 

T‘apk‘o  Daagya.  Song  of  the  Antelope  Ceremony  .....  228  236  547 
Okum  Daagya.  Lullaby. — I.  .............  228  238  547 

Okum  Daagya.  Lullaby. — II.  .  . . 229  239  547 

Gwu  Daagya.  War-Path  Song  ............  229  240  548 

WINNEBAGO 

Wash-ching-geka  Nawa'  Nina.  Song  of  the  Hare  ......  249  264  548 

Wi-la  Na-wa*  Ni-na.  Song  of  the  Sun ..........  250  265  548 

Wai-Kun.  Fable  .................  253  266  548 

Ma-o-na.  Song  to  the  Earth-Maker .  254  268  548 

Mun-Kun  Na-wan.  Holy  Song  (Medicine-Song)  .......  255  270  548 

Hi-wa-shi-da.  Dance  following  the  Holy  Song .  256  273  549 

Mun-Kun  Na-wan.  Holy  Song  (Medicine-Song) .......  256  274  549 

He-lush-ka  Na-wan.  Warrior-Song. — I.  .........  258  275  549 

He-lush-ka  Na-wan.  Warrior-Song. — II.  .........  258  278  549 

[xi] 


THE  INDIANS'  BOOK 


PAGES 

He-lush-ka  Na-wan.  Warrior-Song.  III.  . .  259  280  549 

He-ktsh-ka  Na-wan.  Warrior-Song. — IV.  .........  259  282  549 

He-lush-ka  Na-wan.  Warrior-Song.  V.  .........  260  284  549 

He-lush-ka  Na-wan.  Warrior-Song.  VI.  . .  286 

Wa-gi-tt'eh  Na-wan.  Wailing-Song  . .  260  288  550 

Wak-je  Na-wan.  Victory-Song  ............  260  289  550 

Wunk-hi  Na-wan.  Love-Song. — I. . 261  291  550 

Wunk-hi  Na-wan.  Love-Song. — II.  ...........  262  292  550 

KWAKIUTL 

KlawulacAa.  Song  of  the  Totem-Pole  ..........  302  304  550 

Cradle-Song  . . 303  307 

PIMA 

Chuhwuht.  Song  of  the  World  ............  316  318  551 

Chuhtek-Ohohik  Nieh.  Bluebird  Song  .  .  .  .  .  .  .  .  .  .  317  319  551 
Huhwuhli  Nieh.  Wind-Song  (Medicine-Song) . 317  320  551 

APACHE 

Medicine-Song  . .  324  325  551 

Song  .  . . 327 

Dance-Song  ...................  328 

MOJAVE-APACHE 

Dance-Song. — I.  ..................  329  334 

Dance-Song. — II . 329  335 

Samadia-Suan.  Medicine-Song. — I.  ...........  336 

Samadia-Suan.  Medicine-Song. — II . 337 

YUMA 

Arowp.  Song  of  the  Mocking-Bird  ...........  341  342  551 

NAVAJO 

Dsic/il  Biyin.  Mountain-Song . 352  374  551 

Dsic/il  Biyin.  Mountain- Songs .............  353  377  552 

Hogan  Biyin.  Song  of  the  Hogans  ...........  357  382  553 

Hlin  Biyin.  Song  of  the  Horse  ............  361  389  553 

Naye-e  Sin.  War-Song .  363  393  554 

Tro  Hatal.  Song  of  the  Rain-Chant . 365  399  555 

[  xii] 


SONGS 

pages 

Kledzhi  Hatal. — I.  Dance-Song  from  the  Ceremony  of  the  Night- 

Chant  . . 402 

Kledzhi  Hatal. — II.  Dance-Song  from  the  Ceremony  of  the  Night- 

Chant  . .  403 

Kfedzhi  Hatal. — III.  Dance-Song  from  the  Ceremony  of  the  Night- 

Chant  . . 404 

DsicAlyidje  Hatal . 368  408  555 

Dinni-e  Sin.  Hunting-Song ..............  370  413  555 

Naestsan  Biyin.  Song  of  the  Earth.  . .  372  417  556 

ZUNI 

Ockaya.  Corn-Grinding  Song. — I.  . .  430  433  556 

Ockaya.  Corn-Grinding  Song. — II.  .  . . 431  435  556 

Ockaya.  Corn-Grinding  Song. — III.  ..........  431  437  557 

Shoko  Otiikwe.  Corn-Dance  Song  . . 432  440  557 

Thlah  Hewe.  Song  of  the  Blue-Corn  Dance ........  432  442  557 

SAN  JUAN 

Medicine-Song.  From  San  Juan  Pueblo  .........  449 

ACOMA 

Yaka-Hano  Gatzina  Yoni.  Corn-People  Gatzina  Song.— I. .  .  .  447  451 
Yaka-Hano  Gatzina  Yoni.  Corn-People  Gatzina  Song. — II.  .  .  447  453 
Yaka-Hano  Gatzina  Yoni.  Corn-People  Gatzina  Song. — III.  .  .  447  456 

LAGUNA 

Aiya  GaYtani  Yoni.  Corn-Grinding  Song. — I.  .......  462  464  558 

Alya  GaYtani  Yoni.  Corn-Grinding  Song. — II. . 462  466  558 

Song  . . 463  469 

HOPI 

Wuwachim  Tawi.  Wowuchim-Chant .  479  495  558 

Puwoch  Tawi.  Lullaby . 480  498  558 

Poli  Tiwa  Tawi.  Butterfly-Dance  Song  .  482  500  558 

Anga  Katzina  Tawi.  Anga  Katzina  Song  ........  483  505  559 

Korosta  Katzina  Tawi.  Korosta  Katzina  Song . 484  508  559 

He-hea  Katzina  Tawi.  He-hea  Katzina  Song  .......  485  517  559 

Hevebe  Tawi.  Hevebe-Song. — I. . .  487  523  559 

Hevebe  Tawi.  Hevebe-Song. — II.  .  . .  488  526  560 

Lene  Tawi.  Flute-Song  . .  489  529  560 

[  xiii  ] 


DRAWINGS 


AH  drawings  in  this  book  are  by  Indians,  and  were  made  free-hand  without  rule 
or  measure,  except  that  in  some  instances  an  inverted  basket  was  used  to  form  a 
circle.  Nearly  all  represent  first  efforts  to  draw  on  paper  with  the  white  man's 
brush,  and  many  were  first  attempts  at  drawing  of  any  kind. 

The  lettering  on  the  title-pages  is  by  Angel  De  Cora  (Hinook  Mahiwi  Kilinaka), 
of  the  Winnebago  tribe. 

The  cover-design  is  taken  from  a  parfleche  (satchel  of  dressed  hide),  painted  by 
Wihunahe  (Chief  Woman),  of  the  Cheyenne  tribe. 

The  parfleches  were  used  by  the  prairie  tribes  to  hold  and  carry  their  belongings, 
especially  the  dried  buffalo-meat  that  was  their  sustenance. 

The  idea  in  choosing  this  design  is  that  the  cover  of  the  book  is  in  itself  a  parfleche 
to  keep  those  possessions  of  the  Indian  which  he  must  carry  ever  with  him — the  songs 
and  legends  of  his  race. 

A  Dakota  Indian  suggested  as  title  for  the  book  the  word  Ozula,  u  All  Filled." 

The  title-page,  by  Angel  De  Cora  (Hinook  Mahiwi  Kilinaka),  has  for  the  motive  of 
its  design  an  adaptation  of  an  old  Indian  design  which  represents  in  highly  con¬ 
ventionalized  form  the  Eagle,  and  the  Eagle's  Song.  The  soaring  eagle  is  seen  in 
the  green  figure  whose  points  are  the  two  out-spread  wings,  with  the  tail  in  the  centre. 
The  yellow  spot  at  the  top  of  the  figure  is  the  eagle's  head;  from  the  beak  rises  the 
song — waving  lines  which  broaden  out  as  the  song  floats  on  the  air.  The  whole 
symbol  is  used  in  decorative  form  throughout  the  page,  two  eagles  being  joined 
together  by  the  tips  of  wings  and  tails  to  form  a  symmetrical  design.  In  the  centre 
of  the  page,  at  the  top  and  bottom,  and  at  the  sides,  is  seen  the  eagle-symbol,  while 
the  page  is  framed,  as  it  were,  in  the  symbol  of  the  song. 

The  eagle  is  loved  and  revered  by  the  Indians.  He  is  strongest  of  all  birds.  He 
soars  aloft,  and  he  may  look  upon  the  sun,  the  giver  of  life,  the  celestial  emblem  of 
divine  force.  Therefore  has  the  symbol  of  the  Eagle  and  the  Eagle's  Song  been 
chosen  for  the  title-page  of  u  The  Indians'  Book." 


WHITE  HOUSE. 

WASHINGTON. 


/?  /  7  0(y 


<!«V/  ^ 

-v 

&£j>  ^t^yuS' 


“5 


^  ir«x>«vu^Cr^ 


'sy^e><r^t7V 


INTRODUCTION 


HIS  book  reflects  the  soul  of  one  of  the  noblest  types  of 
primitive  man — -the  North  American  Indian,  It  is  the 
direct  utterance  of  the  Indians  themselves.  The  red 
man  dictated  and  the  white  friend  has  recorded.  Songs, 
stories,  and  drawings,  all  have  been  purposely  contributed  by  Ind¬ 
ians  as  their  separate  offerings  to  a  volume  that  should  be  their 
own. 

By  rail,  by  wagon,  and  by  horse,  over  prairie  and  desert,  the 
white  friend  journeyed  from  tribe  to  tribe,  seeking  the  Indians  with 
open  friendship,  and  everywhere  meeting  their  warm  response.  In 
nearly  every  instance  a  chief  was  visited  first  and  the  purpose  of 
the  book  explained  to  him.  Would  he  and  his  people  join  in  the 
making  of  a  book  to  be  the  Indians*  own — a  book  which  should 
keep  for  all  time  the  songs  and  stories  of  their  race  ?  The  olden 
days  were  gone;  the  buffalo  had  vanished  from  the  plains;  even 
so  would  there  soon  be  lost  forever  the  songs  and  stories  of  the 
Indian.  But  there  was  a  way  to  save  them  to  the  life  and  memory 
of  their  children,  and  that  was  to  write  them,  even  as  the  white 
man  writes.  The  white  friend  had  come  to  be  the  pencil  in  the 
hand  of  the  Indian. 

Thus  was  the  book  undertaken  primarily  for  the  Indians,  in 
the  hope  that  this  their  own  volume,  when  placed  in  the  hands 
of  their  children,  might  help  to  revive  for  the  younger  generation 
that  sense  of  the  dignity  and  worth  of  their  race  which  is  the  Indians* 
birthright,  and  without  which  no  people  can  progress. 

With  enthusiasm  that  was  touching  in  its  gladness,  the  Indians 
responded  to  the  appeal.  Already  had  one  or  two  old  men  tried 
to  make  some  record  of  the  songs,  others  had  sought  deeply  to 

[xxi] 


THE  INDIANS’  BOOK 


engrave  the  old  tales  upon  the  minds  of  a  younger  generation.  All 
realized  that  they  walked  in  the  sunset  hour  of  their  native  life 
and  that  the  night  was  soon  to  come. 

The  Indians  sang  the  songs  directly  to  the  recording  pencil. 
Theirs  are  the  explanations  and  the  tales  connected  with  the  songs. 
Of  the  drawings,  every  one  is  Indian. 

At  first  the  noting  of  the  music  was,  to  the  recorder,  though 
a  musician,  a  task  of  no  small  difficulty.  In  the  beginning  the 
songs  were  first  taken  upon  a  phonograph,  but  the  machine  soon 
was  abandoned  as  inadequate  and  unnecessary,  and  note-book 
and  pencil,  a  camera,  and  a  color-box  for  the  use  of  the  Indians 
made  the  sole  equipment  carried  into  camp  or  village.  The  songs 
were  written  down  by  the  light  of  the  tipi  fire  or  under  the  glare 
of  the  desert  sun;  in  adobe  houses  while  the  women  ground  the 
corn,  or  in  the  open  camp  where  after  some  festival  or  ceremonial 
gathering  of  the  people  a  leader  resang  for  the  book  a  characteristic 
song. 

Many  Indian  songs  are  sacred  to  certain  occasions  or  ceremonies. 
Respect  was  always  shown,  therefore,  for  the  natural  and  some¬ 
times  superstitious  reluctance  of  the  people  to  sing  such  songs  at 
other  than  the  proper  time,  or  even  to  consent  to  the  recording 
of  them.  When  a  singer  chose  such  a  song  for  his  contribution, 
it  was  well,  indeed;  but  no  one  was  ever  urged  to  desecrate  any¬ 
thing  held  sacred,  t  no  matter  what  the  motive.  This  book,  it  is 
hoped,  may  serve  as  an  encouragement  to  educated  Indians  to  carry 
on  the  work  of  record,  for  their  access  to  their  peopled  holiest 
rites,  and  their  understanding  of  Indian  thought,  make  possible  for 
them,  as  for  no  white  person,  a  full  exposition  of  Indian  religious 
life.  This  hope  is  augmented  by  the  fact  that  it  has  been  physically 
impossible,  in  this  collection,  to  represent  every  tribe. 1 

Many  of  the  songs  in  this  book  are  traditional  and  of  lost  origin; 
some  are  current  songs  of  the  day,  still  others  are  quite  new,  taken 
down,  indeed,  from  the  lips  of  their  own  composers.  Each  con- 


1  America  owes  a  debt  to  Miss  Alice  C.  Fletcher,  holder  of  the  Thaw  Fellowship  Department 
of  Anthropology,  Harvard  University,  who  has  been  the  pioneer  in  the  study  of  Indian  song. 
Her  very  valuable  collaborator  has  been  Mr.  Francis  La  Flesche,  an  Omaha  Indian  of  education 
and  culture,  who  many  years  ago  first  conceived  the  idea  of  writing  down  the  songs  of  his  people. 

[  xxii  ] 


INTRODUCTION 


tributor  himself  chose  what  songs  or  stories  he  wished  to  put  into 
the  book,  sometimes  spending  hours  in  deliberation. 

Old  men  and  young,  mothers  and  maidens  —  all  types  of  the 
people  were  sought  that  the  collection  might  reflect  as  fully  as 
possible  the  many  sides  of  Indian  life.  Especially  sought  out  were 
the  very  oldest  men,  the  keepers  of  the  ancient  lore,  and  these 
gave  stories  and  songs  often  entirely  unknown  to  younger  genera¬ 
tions,  and  sometimes  in  archaic  language. 

The  Indians  say  that  the  book  “speaks  with  the  straight  tongue,” 
for  it  holds  the  words  of  their  head  men,  their  wise  men  and  their 
chiefs.  They  believe  it  will  be  an  influence  in  their  own  future, 
and  they  look  to  it  to  tell  the  white  man  that  **  Indians  are  a  good 
people.” 

The  making  of  this  record  has  been  a  consecrated  work.  Joy 
in  the  task  has  been  shadowed  by  close  contact  with  a  struggling 
people  in  their  need.  It  was  impossible  to  live  near  to  Indian  life 
without  being  heart-wrung  by  the  pathos  of  its  tragedy — impossi¬ 
ble  to  be  among  Indians  without  crying,  “  Is  there  a  people  more 
deeply  misunderstood  ?” 

This  book  reveals  the  inner  life  of  a  primitive  race.  The  Indian 
looks  out  with  reverence  upon  the  world  of  nature,  to  him  the 
only  world,  while  deep  in  his  being  thrills  the  consciousness  of  a 
power  greater  than  nature,  greater  than  man,  yet  eternally  mani¬ 
fest  throughout  all  life.  This  consciousness  is  so  vital  to  the  Ind¬ 
ian  that  almost  his  every  act  is  linked  with  it.  The  Indian  is  at 
all  times  prayerful.  Sacred  to  him  is  the  hour  of  birth,  sacred 
the  hour  of  death;  and  in  symbol  and  ceremony  he  tells  his 
reverence. 

Art  is  one  of  the  earliest  of  human  impulses.  It  is  bom  of 
man’s  instinctive  desire  to  create  in  beauty  the  objects  of  his  neces¬ 
sity.  The  earthen  jar,  the  water-gourd,  the  woven  tunic,  all  are 
graced  with  ornament.  And  the  ornament  ?  It  is  most  often  the 
symbol  of  a  prayer. 

The  prayer  of  the  Indian  is  offered  in  many  ways — by  the  cere¬ 
monial  smoking  of  tobacco,  which  symbolizes  the  breath  of  life; 
by  the  scattering  of  holy  corn-pollen,  emblem  of  fruitfulness  and 
productiveness;  or  by  the  planting  of  plumed  prayer-sticks  upon 

[  xxiii  ] 


THE  INDIANS'  BOOK 


whose  feathers  is  breathed  the  supplication,  to  be  wafted  by  the 
wind.  Prayer  is  conveyed  in  the  designs  of  woven  fabrics,  in  bead- 
work,  pottery,  and  decorations  of  all  kinds,  in  dance,  in  ceremony, 
and  in  song. 

Wellnigh  impossible  is  it  for  civilized  man  to  conceive  of  the 
importance  of  song  in  the  life  of  the  Indian.  To  the  Indian,  song 
is  the  breath  of  the  spirit  that  consecrates  the  acts  of  life.  Not 
all  songs  are  religious,  but  there  is  scarcely  a  task,  light  or  grave, 
scarcely  an  event,  great  or  small,  but  has  its  fitting  song. 

In  the  Hebrew  **  Genesis  "  the  creating  word  is  spoken — **  And 
God  said,  Let  there  be  light."  In  nearly  every  Indian  myth  the 
creator  sings  things  into  life.  For  civilized  man,  the  messages  of 
truth,  the  traditions  of  his  ancestors,  the  history  of  his  race,  the 
records  of  his  thought  have  been  secured  upon  the  written  page 
and  so  transmitted  through  the  years.  To  the  Indian,  truth,  tradi¬ 
tion,  history,  and  thought  are  preserved  in  ritual  of  poetry  and  song. 
The  red  man's  song  records  the  teachings  of  his  wise  men,  the  great 
deeds  of  his  heroes,  the  counsel  of  his  seers,  the  worship  of  his  God. 
If  all  things  Indian  must,  indeed,  pass  away  under  the  white  man's 
ban  as  being  "pagan"  and  " uncivilized,"  then  will  be  lost  to  the 
red  man  not  only  his  whole  unwritten  literature,  but  also,  and 
sadder  still,  the  realm  wherein  his  soul  aspires.  For  to  the  primi¬ 
tive  man  of  another  race,  no  creed  wholly  alien  to  his  thought 
and  environment  ever  can  replace  his  own  entire  spiritual  world, 
which  is  the  heritage  of  his  past  and  the  natural  expression  of 
his  soul. 

Throughout  this  book  the  effort  has  been  made  to  render  truth¬ 
fully  into  English  the  thought  in  the  Indian  poetry.  Translations 
have  carefully  been  worked  out  with  educated  Indians  as  inter¬ 
preters  and  old  men  of  authority  as  informants.  Indian  poetry  is 
difficult  of  translation,  not  only  because  of  the  differences  in  lan¬ 
guage  (for  there  are  Indian  words  that  have  no  counterpart  in 
English),  but  also  because  of  the  very  nature  of  the  poetry. 

Indian  poetry,  like  Indian  art,  is  expressed  in  symbol.  The 
cloud-form  in  Indian  design  is  no  copy  of  a  cloud,  but  a  conven¬ 
tionalized  image  tliat  is  a  symbol  meaning  cloud,  as  a  wavy  line 
means  water  or  a  cross  stands  for  a  star.  Even  so  in  poetry.  One 

[xxiv  ] 


INTRODUCTION 


word  may  be  the  symbol  of  a  complete  idea  that,  in  English,  would 
need  a  whole  sentence  for  its  expression.  Even  those  who  know  the 
language  may  not  understand  the  songs  unless  they  know  what 
meaning  lies  behind  the  symbolic  words.1  Such  poetry  is  impres¬ 
sionistic,  and  many  may  be  the  interpretations  of  the  same  song 
given  by  different  singers.  Again,  where  the  songs  belong  to 
sacred  ceremonies  or  to  secret  societies,  the  meaning  is  purposely 
hidden — a  holy  mystery  enshrined — that  only  the  initiated  may 
hear  and  understand. 

Indians  feel  that,  in  the  English  rendering  of  their  verse,  justice 
is  not  done  to  the  poetry  when  there  is  given  only  a  bare  and  literal 
translation  of  the  symbolic  word  instead  of  a  full  expression  of  the 
meaning.  They  say,  “  It  takes  many  words  in  English  to  tell 
what  we  say  in  one.  But  since  you  have  no  one  word  to  tell  all  we 
mean,  then  you  must  speak  our  one  word  in  your  many.”  In 
some  of  the  songs,  however,  the  meaning  is  fully  expressed  in  words. 
Yet  even  such  a  song  cannot  wholly  be  understood  without  a  knowl¬ 
edge  of  the  event  which  called  it  into  being,  the  legend  with  which 
it  is  connected,  or  the  ceremony  of  which  it  is  a  part. 

The  translations  are  as  literal  as  possible,  yet  the  chief  desire 
has  been  that  the  real  meaning  should  truthfully  flash  through 
the  English  words,  and  that  the  translation  should  retain  the  fra¬ 
grance,  the  color,  and,  above  all,  the  spirit  of  the  original.  The 
translation  has  been  fitted  to  the  music,  for  only  when  the  meaning 
of  the  song  is  clearly  revealed  through  the  intertwining  of  poetry 
and  melody  can  there  be  fully  felt  the  elemental  emotion,  the  nature 
quality,  the  forceful  sweeping  charm  of  Indian  song. 

Of  the  music,  how  does  Indian  song  differ  from  that  of  civiliza¬ 
tion  ?  Music  is  a  trinity.  It  is  composed  of  three  elements — rhythm, 
melody,  and  harmony.  The  first  element  is  rhythm,  for  rhythm 
is  in  the  earliest  consciousness  of  man.  It  is  in  the  throb  of  the 
pulses,  the  beat  of  horse-hoofs,  the  break  of  waves.  All  life  is 
rhythmic,  for  life  is  vibration,  motion.  So  music  in  its  earliest  form 
consists  chiefly  in  rhythm. 


Literal  translations  of  the  Indian  words  are  offered  in  the  appendix. 

[xxv] 


THE  INDIANS'  BOOK 


The  next  element  is  melody — a  succession  of  sounds  of  different 
pitch*  The  wail  of  the  wind,  the  laughter  of  the  brook,  the  mating 
song  of  birds,  these  are  melodies  of  nature.  The  emotional  re¬ 
sponse  is  in  man.  Song  becomes  the  cry  of  the  heart  and  the  trans¬ 
figuration  of  the  spoken  word. 

Next  conies  harmony  —  the  combination  of  different  sounds. 
Harmony  is  in  the  blending,  blurring  overtones  of  nature,  the  melt¬ 
ing  of  many  sounds  into  one.  It  is  the  last  element  of  music  to 
evolve,  and  it  has  developed  with  the  progress  of  science — the  un¬ 
folding  to  man's  comprehension  of  the  universal  laws  of  life.  With 
harmony  music  becomes  an  art  of  greatest  dignity  and  power,  a 
subtle,  sensitive  reflex  of  the  soul's  impressions,  a  language  which 
expresses  thoughts,  emotions,  and  aspirations  incapable  of  utterance 
in  form  less  spiritual. 

The  unstudied  song  of  primitive  man  is  as  soulful  in  its  purpose 
as  developed  art,  but  it  is  a  simple  expression  of  far  simpler  things. 
The  music  of  most  primitive  people  contains  the  first  two  elements 
only — rhythm  and  melody — and  these  elements,  especially  rhythm, 
are  highly  developed.  Harmony  is  lacking;  but  the  life  and  art 
of  the  Indian  are  so  linked  with  nature  that  it  is  to  be  questioned 
whether  the  sounds  of  the  nature-world  do  not  supply  to  these  singers 
of  the  open  a  certain  unconscious  sense  of  harmonic  background. 
No  one  who  ha§  heard  Indian  songs  in  their  own  environment, 
under  broad  skies  amid  the  sweep  of  wind  and  grasses,  can  fail  to 
feel  that  they  are  there  a  note  in  a  nature  symphony.  Take  the 
Indian  from  nature,  or  nature  from  the  Indian,  and  the  Indian's 
art,  if  it  survive,  must  undergo  the  change  of  supplying  from  within 
that  which  was  unconsciously  received  from  without.  It  must  em¬ 
body  the  lost  nature-world.  Thus  ever  in  the  growth  of  civilization 
are  the  influences  of  nature  absorbed  into  the  creations  of  art.  Not 
knowing  harmony,  it  is  chiefly  on  variety  of  rhythm  that  primitive 
man  depends  for  his  variety  of  musical  effect.  No  civilized  music 
has  such  complex,  elaborate,  and  changing  rhythm  as  has  the  music 
of  the  American  Indian. 

The  songs  in  this  book  are  written  exactly  as  sung  by  the  Ind¬ 
ians,  as  nearly  as  musical  notation  can  record.  No  harmony  has 
been  added.  The  original  melodies  are  absolutely  unchanged. 

[xxvi] 


INTRODUCTION 


The  book  thus  offers  a  faithful  record  of  the  song  of  primitive 
man. 

Different  Indian  tribes  differ  as  widely  in  their  music  and  in  their 
manner  of  singing  as  in  their  life  and  customs.  Yet  there  is  one 
characteristic  peculiarity  of  Indian  song  that  is  almost  universal. 
This  is  a  rhythmic  pulsation  of  the  voice  on  sustained  notes  some¬ 
what  analogous  to  the  effect  produced  on  the  violin  when  the  same 
note  is  slightly  sounded  several  times  during  one  stroke  of  the  bow. 
This  pulsating  accentuation  is  expressed  in  this  book  wherever  tied 
notes  have  vocables  or  syllables  written  out  beneath  them .  The 
effect  must  be  heard,  however,  in  order  adequately  to  be  repro¬ 
duced.  Also  it  should  always  be  borne  in  mind  that  Indian  music 
is  essentially  for  singing.  It  cannot  properly  be  performed  on  an 
instrument  of  percussion,  such  as  a  piano,  but  must  be  sung,  or  at 
least  played  on  a  stringed  instrument.  Nor  can  it  be  too  em¬ 
phatically  stated  that  all  notation  of  Indian  music,  however  accu¬ 
rate,  must  necessarily  be  but  as  a  skeleton  to  the  living  form. 
The  actual  melody  can  be  recorded,  with  its  rhythmic  accompani¬ 
ment  of  drum  or  rattle.  But  the  rendering  of  the  song  —  the 
vocal  embellishment,  the  strange  gutturals,  slurs,  and  accents  that 
make  Indian  singing  so  distinctive  —  all  this  is  altogether  too 
subtle  and  too  much  a  part  of  the  voice  itself  to  be  possible  of 
notation. 

The  Indians  of  the  Lakes  and  Plains  whose  lives  in  the  old  days 
were  exposed  to  all  the  severities  of  weather,  and  who  still  sing 
constantly  in  the  open  air  and  against  the  wind,  have  voices  more 
striking  for  their  stirring  ring  than  for  actual  beauty,  as  we  deem 
it.  The  voices  of  the  men  extend  in  range  from  a  sort  of  falsetto 
tenor  to  a  bass  so  deep  as  scarcely  to  sound  the  pitch  of  any  given 
note.  Accents  are  made  by  an  almost  harshly  aspirated  staccato 
attack,  and  sustained  notes  are  often  sung  with  a  tightening  of  the 
throat  that  produces  a  peculiar  quaver.  The  songs  frequently 
begin  with  high  quavering  tones,  then  gradually  descend  and  end 
with  low  phrases  that  break  off  or  die  away  on  open  vowel  syllables. 
This  is  consistent  with  the  sounds  of  nature  and  with  the  cries 
of  animals.  Indeed,  the  Indian  can  so  imitate  the  call  of  a  bird 
or  the  howl  of  the  wolf  as  to  be  entirely  deceptive. 

f  xxvri  1 


THE  INDIANS'  BOOK 


The  singing  of  the  Plains  women  is  less  violent  in  its  accent  and 
more  legato  than  that  of  the  men,  and  its  mellow  nasal  quality  sug¬ 
gests  the  rustic  note  of  the  oboe. 

The  song  of  the  Plains  Indian  has  its  fitting  surrounding  in 
the  fire-lit  lodge  or  the  open  prairie.  The  drum-beat,  vibrant  in 
the  crisp,  cold  air  of  a  winter  night,  adds  its  throb  to  the  life-pulse 
of  this  music  which  is  exciting,  exhilarating,  and  inspiring  through 
its  spirit  and  vitality. 

Strikingly  different  is  the  song  of  the  Pueblo  Indian.  The  shrill 
coyote  cry  of  the  Plains  warrior  is  unknown  to  the  Southwestern 
tiller  of  the  soil.  The  song  of  the  Pueblo  men  is  a  strong,  clear  out¬ 
pouring  from  full  lungs,  while  the  note  of  the  ceremonial  chant  is 
deep  and  solemn.  The  women  of  the  Rio  Grande  and  Zuni  Pueblos 
have  high  and  flutelike  voices;  but  the  gentle  Hopi  women  sing 
with  veiled  tone  of  peculiar  feminine  charm,  and  the  long-drawn 
slurring  of  their  phrases  gives  to  their  singing  a  certain  vagueness  of 
quality  and  intonation  that  is  altogether  alluring  in  its  suggestion 
of  the  surrounding  empty  desert. 

The  sacred  songs  of  the  Navajos  and  Apaches  are  chanted  with 
low  nasal  swing,  but  the  dance-songs  are  sung  with  lusty  vigor,  and 
the  call  of  the  shepherd  on  the  mountain-side  echoes  in  clear-cut 
beauty  through  cliffs  and  canons. 

Like  all  folk-music,  the  music  of  the  Indian  is  the  spontaneous 
and  sincere  expression  of  the  soul  of  a  people.  It  springs  from 
our  own  continent,  and  is  thus,  of  all  music,  distinctively  American. 
If  Indian  song  be  encouraged  with  Indians,  and  recognition  of  it 
awakened  among  our  own  people,  America  may  one  day  contribute 
a  unique  music  to  the  world  of  art.  Not  that  the  musical  art  of 
America  can  ever  be  founded  on  Indian  melodies;  for  the  art  of 
the  Aryan  must  be  Aryan  to  be  the  true  expression  of  his  race. 
But  the  folk-music  of  any  land  is  a  soil  from  which  genius  draws 
sustenance  for  fresh  growth,  and  the  stimulus  to  the  creative  mind 
through  contact  with  this  native  art  should  give  to  America  a 
new  and  vigorous  art  impulse. 

The  drawings  in  this  book  are  all  made  by  the  Indians,  many  of 
whom  had  never  held  brush  before.  Teachers  in  Indian  schools 
say  that  Indian  children  in  the  first  grade  draw  as  well  as  white 

[  xxviii  ] 


INTRODUCTION 


children  in  the  fifth.  With  the  Indian  a  sense  for  form  and  color 
is  inborn.  The  hand  that  has  woven  for  generations  the  matchless 
basket,  perfect  in  symmetry  and  beautiful  in  design,  wields  the 
white  man’s  pencil  with  delicacy  and  sweeping  certitude.  Even 
when  painting  for  the  first  time,  the  untutored  draughtsman  lays 
the  color  on  the  paper  as  evenly  as  though  drilled  to  the  task. 

The  technique  of  all  art  handwork  is  the  Indian’s  by  nature. 
But  technique  is  only  the  offspring  of  a  larger  gift  which  fashions 
the  imagery  of  cloud,  rain,  star,  and  growing  com  into  symbol,  and  of 
symbols  composes  decorative  designs  both  beautiful  and  meaning¬ 
ful.  The  Indian  is  artistic  by  nature.  His  art  is  not  a  luxury  of 
the  cultured  few,  but  the  unconscious  striving  of  the  many  to  make 
beautiful  the  things  of  daily  living* 

The  child  race  of  a  by-gone  age  has  left  no  written  record  of  its 
thoughts.  Silent  through  the  ages  has  passed  barbaric  man.  The 
voices  that  greeted  the  sunrise  of  the  race  have  died  away  without 
an  echo.  A  bit  of  broken  pottery,  a  bone-awl,  an  arrow-head,  a 
grave-mound,  mute  testimonies  these  of  the  art,  the  industry,  the 
life,  the  death  of  man  in  the  long  ago.  A  footprint  only  tells  of 
his  passing.  And  of  his  thoughts  ?  The  lips  of  the  past  are  closed 
forever  on  the  mystery.  Of  value,  then,  to  the  history  of  the  human 
race,  as  well  as  to  the  history  of  America,  are  the  written  utterances 
of  this  primitive  people. 

In  music,  art,  and  letters,  as  well  as  in  history  and  archaeology, 
should  The  Indians’  Book  find  a  place.  Here  may  we  look  into  the 
mind  of  a  race  utterly  unlike  any  other  in  the  world.  Indian 
thought  presents  material  absolutely  unique.  What  other  nation 
has  in  its  midst  a  like  opportunity  for  inspiration  ?  Let  us  pause 
in  the  stress  of  our  modern  life  to  listen  to  the  ancient  lore  of  our 
own  land.  From  the  heart  of  the  nature-world  speaks  the  voice  of 
man  proclaiming  deity.  The  Indian’s  religious  thought,  uttered 
with  the  simplicity  of  childhood,  is  bom  of  his  recognition  of  spirit 
in  every  form  of  life,  and  his  conception  of  an  omnipotent  and  all- 
pervading  divine  power  is  entirely  spiritual  and  impersonal.  The 
Indian  has  a  message  for  the  seekers  after  truth  who  welcome, 
whatsoever  its  form,  the  recognition  of  God  by  man.  And  if  there 

[  xxix  ] 


THE  INDIANS'  BOOK 


be  truth  in  the  theory  that  the  American  continent  was  the  first  to 
emerge,  then  are  the  Indians,  indeed,  perhaps  the  most  ancient  of 
peoples  and  their  spiritual  conceptions  should  be  of  interest  and 
value  to  the  whole  human  race.  The  whole  civilized  world  to-day 
faces  the  question:  Is  primitive  man  to  retain  his  God-given  right 
to  evolution,  or  is  he  to  be  swept  from  off  the  earth  before  the  im¬ 
perious  needs  of  civilized  powers  ?  The  Spartan  mother  left  her 
weakling  on  the  mountain-side  to  perish.  Now  science,  with  the 
incubator,  preserves  the  life  of  the  pauper  babe  prematurely  born. 
Should  not  this  recognition  of  the  sacredness  of  life  be  applied  to 
races  as  well  as  to  individuals  ?  He  who  can  offer  most  to  the  devel¬ 
opment  of  humanity  is  now  deemed  the  fittest  to  survive.  The 
primitive  races  are  child  races.  Who  can  tell  what  may  be  their 
contribution  to  humanity  when  they  are  grown  ?  And  have  they 
not  even  now  something  to  give  ? 

What  of  the  type  of  manhood  that  the  Indian  presents,  reserved 
and  poised,  courageous,  enduring,  master  of  eloquence,  master  of 
silence,  above  all,  self-controlled — a  proud,  vanishing  figure  in  a 
nation  of  unrest  ?  A  hewer  of  wood  and  a  drawer  of  water,  yes — 
but  what  more  ?  What  of  his  talents  ? — have  they  not  a  place  to 
fill  in  the  culture  and  industry  of  our  country  ?  We  are  a  people  of 
great  mechanical  and  inventive  genius,  but  we  are  not  naturally 
song-makers,  poets,  or  designers.  Can  we  afford  to  lose  from  our 
country  any  sincere  and  spontaneous  art  impulse,  however  crude  ? 
The  undeveloped  talents  native  to  the  aboriginal  American  are 
precisely  those  in  which  the  Anglo-Saxon  American  is  deficient. 
Far  ahead  of  Europe  are  we  in  labor-saving  devices,  but  far  behind 
in  all  art  industries.  Our  patterns  and  designs  are  largely  imported 
from  France.  And  yet,  here  among  us,  down-trodden  and  by  us 
debauched,  is  a  people  of  real  creative  artistic  genius — the  first 
Americans  and  possibly  the  oldest  race  on  earth.  And  our  interests 
declare  that  this  proud  race  must  perish  ?  If  The  Indians'  Book 
proves  that  the  Indians  have  qualities  worthy  of  a  place  in  civiliza¬ 
tion,  may  not  the  same  be  true  of  other  primitive  peoples  also  ? 
Would  we  not  do  well  at  least  to  find  out  what  the  people  really 
are  before  we  declare  that  the  natural  law  of  the  survival  of  the 
fittest  pronounces  for  our  progress  their  doom  ? 

[xxx  i 


INTRODUCTION 


If  The  Indians'  Book  can  help  to  a  recognition  of  primitive  men 
as  men  of  latent  capabilities;  if  it  can  help  in  ever  so  small  degree 
to  herald  the  day  when  adult  races  wisely  shall  guide  child  races, 
and  civilization  nourish  the  genius  of  every  people,  then  will  this 
utterance  of  the  North  American  Indians  be  not  for  the  race  alone, 
but  for  all  humanity. . 

August ,  1905. 


\ 


NOTE 


For  the  benefit  of  the  white  reader  it  may  be  well  to  state  in  brief  the  present 
conditions  of  Indian  life.  With  the  advance  of  the  white  man  the  Indian  has  been 
pushed  from  place  to  place,  until  the  several  tribes  have  finally  been  located  on 
reservations — that  is,  land  set  apart  for  them.  The  Indians  are  considered  wards 
of  the  nation  and  are  ruled  by  the  Federal  government.  Each  reservation  is  con¬ 
trolled  by  a  government  officer  appointed  by  the  Commissioner  of  Indian  Affairs. 
On  nearly  every  agency  is  a  government  Indian  school;  there  are  also  several  non¬ 
reservation  boarding-schools. 

The  reservation  system  is  now  gradually  being  abolished,  principally  on  account 
of  the  white  man's  ever-increasing  demand  for  land.  The  Indians  receive  a  stated 
number  of  acres  in  severalty,  and  the  rest  of  the  reservation  is  sold  for  white  set¬ 
tlement. 

The  national  policy  of  the  past  for  the  civilization  and  education  of  the  Indian 
has  been  to  abolish  tribal  relations,  native  religion,  customs,  art,  language,  and  dress. 
This  form  of  racial  suicide  expected  of  the  red  man  has  not  added  happiness  to 
his  lot.  Of  late  years  there  has  been  a  desire  on  the  part  of  many  earnest  people 
to  see  this  policy  modified,  and  the  present  Indian  Commissioner,  Hon.  Francis  E. 
Leupp  is  the  friend  of  intelligent  effort  along  these  lines. 

Mr.  Leupp  came  into  office  after  this  book  was  undertaken.  Since  his  admin¬ 
istration  two  important  reforms  in  Indian  education  have  been  instituted:  the  offi¬ 
cial  encouragement  of  native  music  in  ihe  schools,  and  the  appointment  of  Angel  De 
Cora,  a  Winnebago  Indian,  as  art  instructor  at  Carlisle  Indian  School. 

No  claim  is  made  that  all  work  in  this  book  is  without  error. 

The  short  sketches  of  the  tribes  have  been  compiled  by  the  recorder  with  the 
help  of  standard  authorities,  but  the  migrations  and  early  history  of  Indians  form 
a  subject  that  is  still  largely  conjectural.  Though  great  care  has  been  taken  in 
the  preparation  of  this  material,  years  might  still  be  spent  with  advantage  in  further 
comparing  it  with  the  work  of  students  who  have  made  particular  Indian  tribes 
the  subject  of  valuable  and  exhaustive  research.  Nevertheless,  in  view  of  the 
eagerness  of  the  Indians  for  their  book,  it  is  deemed  desirable  to  publish  the  collection 
as  it  is,  without  further  delay. 


'  HOA'I-HJTIT  IXAHASAW 

osibnl  iooadon3ci  £  yd  sksd-daiid  ni  *»o  vattoiq  &  ai  'tgiasb  sriT 
jloofc  bliw  s Ai  fcn£  ,32oom  Hud  sdt  ,'jaoom  wo=  sd?  eJnsesiqai  *1 
.(sioD  sd  IsgnA)  sd-cmlC*  iwiriuK  dooniH  yd  e»  S^tts!  sn.L 


THE  INDIANS'  BOOK 


THE  WABANAKIS* 

Told  by  Bedagi  (Big  Thunder) 


w 


E  are  the  Wabanakis 1 — **  Children  of  the  Dawn  Country,” 
“  People  of  the  East.”  Five  tribes  made  up  our  nation 
— Passamaquoddy,  Penobscot,  Micmac,  Maliseet,  and  a 
tribe  now  gone  that  lived  on  the  Kennebec  River.  Some 
of  the  tribes  had  almost  the  same  speech,  others  a  different  one. 
Long  have  the  white  men  been  among  us,  yet  though  we  have  for¬ 
gotten  many  of  the  old  songs  and  stories,  we  have  never  lost  our 
language.  It  is  only  nowadays  that  the  children  use  less-  and 
less  the  speech  of  their  fathers. 

Long  have  the  white  men  been  among  us.  Yet  some  of  us  still 
remember  the  time  when  our  lives  were  spent  in  hunting  and  fish¬ 
ing,  and  our  villages  were  of  wigwams  instead  of  houses. 

In  the  olden  time  our  garments  were  of  moose-skin  and  fur,  our 
pouches  were  the  skins  of  animals,  our  dishes  were  of  wood  and 
bark.  Before  the  coming  of  white  men,  our  knives  and  toma¬ 
hawks  and  all  our  tools  were  of  stone.  With  a  stone  knife  we  cut 
open  the  moose  and  with  a  tool  of  stone  we  skinned  him.  We 
fished  with  a  bait  of  stone,  well  greased  with  moose-tallow,  on  a 
line  of  moose-sinew.  Our  lives  were  simple  and  glad,  and  our 
marriages  were  happy.  Man  and  woman  made  their  vow  to  the 


NOTE  FOR  PRONUNCIATION  OF  WABANAKI  TEXT 

Unless  otherwise  indicated,  vowels  have  the  Continental  sound  and  conso¬ 
nants  the  English.  Where  no  translation  appears,  the  song- words  are  meaning¬ 
less  vocables. 


1  The  Wabanakis  are  of  Algonquian  stock. 

[3], 


THE  INDIANS'  BOOK 


Great  Spirit.  In  our  old  religion  we  believed  that  the  Great  Spirit 
who  made  all  things  is  in  everything,  and  that  with  every  breath 
of  air  we  drew  in  the  life  of  the  Great  Spirit. 


THE  STORY  OF  THE  FIRST  MOTHER 

Joseph  Nicolar.  a  Penobscot  Indian,  compiled  and  wrote  the  legends  of  his 
people,  and  published  them  himself  in  the  year  1893,  in  a  small  volume  entitled 
The  Red  Man .  44  The  Story  of  the  First  Mother,"  is  adapted  from  the  book  and 
is  here  contributed  by  Nicolar's  wife,  who  is  still  living  at  Oldtown,  Maine.  The 
same  story  as  told  to  the  compiler  by  Big  Thunder  differs  somewhat  in  detail, 
but  is  essentially  the  same. 

ONG  ago,  when  Kloskurbeh,  the  great  teacher,  lived 
in  the  land,  and  there  were  as  yet  no  other  men,  there 
came  to  him  one  day  at  noon  a  youth;  and  the  youth 
stood  before  Kloskurbeh  and  called  him  **  mother's 
brother,"  and  said:  **  I  was  born  of  the  foam  of  the  waters;  for  the 
wind  blew,  and  the  waves  quickened  into  foam,  and  the  sun  shone 
on  the  foam  and  warmed  it,  and  the  warmth  made  life,  and  that 
life  is  I.  See,  I  am  young  and  swift,  and  I  have  come  to  abide 
with  you  and  be  your  help  in  all  things." 

Again  on  a  day  at  noon  there  came  a  maiden  and  stood  before 
the  two  and  called  them  “  my  children,"  and  the  maiden  said ; 
“  I  have  come  to  abide  with  you,  and  I  have  brought  with  me  love. 
I  will  give  it  to  you,  and  if  you  will  love  me  and  grant  my  wish, 
all  the  world  will  love  me  well,  even  the  very  beasts.  Strength 
is  mine,  and  I  give  it  to  whosoever  may  get  me ;  comfort  also ;  for 
though  I  am  young  my  strength  shall  be  felt  over  all  the  earth. 
I  was  born  of  the  beautiful  plant  of  the  earth ;  for  the  dew  fell  on 
the  leaf,  and  the  sun  warmed  the  dew,  and  the  warmth  was  life, 
and  that  life  is  I." 

Then  Kloskurbeh  lifted  up  his  hands  towards  the  sun  and 
praised  the  Great  Spirit,  and  afterwards  the  young  man  and  the 
maid  were  man  and  wife,  and  she  became  the  first  mother.  Klos¬ 
kurbeh  taught  their  children  and  did  great  works  for  them,  and 
when  his  works  were  finished  he  went  away  to  live  in  the  Northland 

until  it  should  be  time  for  him  to  come  again.  But  the  people 

[4] 


WABANAKI 


increased  until  they  were  very  manyt  and  there  came  a  famine 
among  them;  and  then  the  first  mother  grew  more  and  more  sorrow¬ 
ful.  Every  day  at  noon  she  left  her  husband's  lodge  and  stayed 
from  him  until  the  shadows  were  long.  And  her  husband  that 
dearly  loved  her  was  sad  because  of  her  sorrow,  and  one  day  he 
followed  her  trail  as  far  as  the  ford  of  the  river,  and  there  he  waited 
for  her  to  return.  When  she  came,  she  sang  as  she  began  to  ford 
the  river,  and  as  long  as  her  feet  were  in  the  water  she  seemed  glad, 
and  the  man  saw  something  that  trailed  behind  her  right  foot,  like 
a  long  green  blade.  But  when  she  came  out  of  the  water  she  stooped 
and  cast  off  the  blade,  and  then  she  appeared  sorrowful. 

The  husband  followed  her  home  as  the  sun  was  going  down, 
and  he  bade  her  come  out  and  look  at  the  beautiful  sun.  And  while 
they  stood  side  by  side,  there  came  seven  little  children  that  stood 
in  front  of  them  and  looked  into  the  woman's  face,  saying,  **  We  are 
hungry,  and  the  night  will  soon  be  here.  Where  is  the  food  ?" 
Then  the  woman's  tears  ran  down,  and  she  said,  **  Be  quiet,  little 
ones;  in  seven  moons  you  shall  be  filled,  and  shall  hunger  no  more." 

The  husband  reached  out  his  hand  and  wiped  away  her  tears 
and  said,  **  My  wife,  what  can  I  do  to  make  you  happy  ?"  And 
she  answered,  **  Take  my  life." 

**  I  cannot  take  your  life,"  said  the  man;  “  will  nothing  else 
make  you  happy?" 

“  Nothing  else,"  she  answered.  **  Nothing  else  will  make  me 
happy." 

Then  the  husband  went  away  to  the  Northland  to  take  counsel 
with  Kloskurbeh,  and  with  the  rising  of  the  seventh  sun  he  came 
again  and  said,  “  O  wife,  Kloskurbeh  has  told  me  to  do  the  thing 
you  wish."  Then  the  woman  was  glad  and  said :  “  When  you  have 
slain  me,  let  two  men  lay  hold  of  my  hair  and  draw  my  body  all 
around  a  field,  and  when  they  have  come  to  the  middle  of  the  field, 
there  let  them  bury  my  bones.  Then  they  must  come  away;  but 
when  seven  moons  have  passed  let  them  go  again  to  the  field  and 
gather  all  that  they  find,  and  eat;  it  is  my  flesh;  but  you  must  save 
a  part  of  it  to  put  in  the  ground  again.  My  bones  you  cannot  eat, 
but  you  may  burn  them,  and  the  smoke  will  bring  peace  to  you 
and  to  your  children." 


[5] 


THE  INDIANS'  BOOK 


On  the  morrow  when  the  sttn  was  rising  the  man  slew  his  wife; 
and,  as  she  had  bidden,  men  drew  her  body  all  about  an  open  field, 
until  the  flesh  was  worn  away,  and  in  the  middle  of  the  field  they 
buried  her  bones.  But  when  seven  moons  had  gone  by,  and  the 
husband  came  again  to  that  place,  he  saw  it  all  filled  with  beautiful 
tall  plants;  and  he  tasted  the  fruit  of  the  plants  and  found  it  sweet, 
and  he  called  it  **  Skar-mu-nal,"  corn.  And  on  the  place  where 
her  bones  were  buried  he  saw  a  plant  with  broad  leaves,  bitter  to 
the  taste,  and  he  called  it  "  Utar-Mur-wa-yeh,"  tobacco. 

Then  the  people  were  glad  in  their  hearts,  and  they  came  to 
his  harvest;  but  when  it  was  all  gathered  in,  the  man  did  not  know 
how  they  should  divide  it,  and  he  sent  to  Kloskurbeh  for  counsel. 
When  Kloskurbeh  came  and  saw  the  great  harvest,  he  gave 
thanks  to  the  Great  Spirit  and  said,  "  Nov/  have  the  first  words  of 
the  first  mother  come  to  pass,  for  she  said  she  was  bom  of  the  leaf 
of  the  beautiful  plant,  and  that  her  power  should  be  felt  over  the 
whole  world,  and  that  all  men  should  love  her.  And  now  that  she 
is  gone  into  this  substance,  take  care  that  this,  the  second  seed  of 
the  first  mother,  be  always  with  you,  for  it  is  her  flesh.  Her  bones 
also  have  been  given  for  your  good ;  burn  them,  and  the  smoke 
will  bring  freshness  to  the  mind.  And  since  these’  things  came 
from  the  goodness  of  a  woman's  heart,  see  that  you  hold  her  always 
in  memory ;  remember  her  when  you  eat,  remember  her  when  the 
smoke  of  her  bones  rises  before  you.  And  because  you  are  all 
brothers,  divide  among  you  her  flesh  and  her  bones — let  all  shares 
be  alike  —  for  so  will  the  love  of  the  first  mother  have  been 
fulfilled." 


WABANAKI 


N'SKAWEWINTUAGUNUL 

Songs  of  Greeting 

Sung  and  told  by  Blamswe-Zozep  Tene  (Francis  Joseph  Dana),  Lincoln,  Maine,  and  Asawhis 

(John  Sails),  Eastport,  Maine 

HENEVER  we  saw  a  canoe  rounding  the  point,  flying 
a  white  flag,  we  knew  that  strangers  were  coming  to 
visit  us.  Then  we  gathered  on  the  shore,  men,  women, 
and  children,  like  a  great  procession,  waiting  to  welcome 
those  days  the  Wabanaki  tribes  had  each  their  chief 
(sagam),  lieutenant  -  chief  (mehchichiket,  or  leptahnit),  and  five 
or  six  head  warriors  or  captains  (s'moganis).  The  stranger  (s’mo- 
ganis)  first  sprang  to  land  and  sang  the  N'Skawewintuagunul  (song 
of  greeting),  stepping  slowly  towards  our  chief,  in  time  to  the  song, 
while  all  the  people  sang  “  hega,  hega.”  At  the  end  of  the  song 
the  stranger  had  drawn  close  to  the  chief,  and  holding  out  his  hand 
said,  “I  greet  you,  chief  of  the  Passamaquoddy.”  Then  the  peo¬ 
ple  gave  a  great  shout  and  fired  off  their  guns.  In  the  same  way 
the  stranger  greeted  the  lieutenant-chief  and  the  captains.  Then 
we  in  our  turn  performed  the  same  ceremony,  singing  the  song  of 
welcome,  and  shaking  hands  with  the  visiting  chief  and  his  men. 

Then  the  visitors  and  all  the  people  went  up  together  to  the 
village,  and  there  the  guests  were  feasted. 

These  are  the  songs  of  greeting  of  the  olden  days. 

THE  GAME  OF  BARTER 

Sung  and  told  by  Bedagi  (Big  Thunder) 

INTER  is  the  season  for  story-telling  and  games.  One 
of  our  amusements  in  the  old  days  was  the  game  of 
barter.  Two  companies  would  gather  in  separate  wig¬ 
wams  and  each  dress  one  of  their  men  in  comic  dress  as 
a  nolmihigon ,  or  clown.  The  fhst  nolmihigon  and  his  company 

would  go  to  the  second  wigwam  with  some  article  to  be  offered 

[7] 


w 


them.  In 


THE  INDIANS'  BOOK 


for  exchange.  Then  the  nolmihigon  would  dance  and  sing  so 
comically  and  praise  the  article  with  so  much  wit  that  often  he 
would  receive  in  exchange  for  it  something  of  far  greater  value. 
For  instance,  he  would  take  an  old  wooden  spoon,  and  stroking  it 
would  say  how  fair  it  was,  how  useful,  singing,  **  If  you  will  keep 
him  well,  he  will  serve  you  your  life  long." 

The  people  of  the  opposite  company  then  would  offer  him  their 
things  in  exchange,  and  if  the  nolmihigon  were  clever  he  might 
obtain  a  good  canoe  for  his  old  spoon.  Snow-shoes,  moose-skin 
garments,  axes,  all  things  were  bartered  in  this  merry  way.  When 
the  exchange  had  been  made,  the  first  nolmihigon  and  his  company 
would  go  back  to  their  own  wigwam,  and  then  the  nolmihigon  and 
people  of  the  second  wigwam  would  visit  them  with  their  wares. 
But  great  was  the  fun  if  the  people  of  the  second  wigwam  ran  very 
fast  and  arrived  at  the  first  wigwam  before  their  hosts  had  returned. 
Of  course,  the  party  with  the  wittiest  nolmihigon  were  winners  in 
the  end.  So  we  joked  and  played  on  long  winter  evenings  in  the 
olden  days. 

PENOBSCOT  BARTER  DANCE-SONG 

Ko  na  wa  ya  ti  ge 
Ko  na  wa  ya  ti  ge 
Ko  cha  ba  la  chich  a 
Ni  ta  ge  si  za 

(Meaning  of  words  unknown) 


PENOBSCOT  WAR-DANCE  SONG 
Kwa  ha  hi-a 

Kwa  nu  kwa  no  de  he  no 
Kwa  no  de  kwa  no  de 
He  no 

These  are  no  real  words,  but  the  meaning  of  the  song  as  given  by  Big  Thunder  might  be,  “I 
wish  that  you  Were  dancing,  too.” 


WABANAKI 


PENOBSCOT  DANCE-SONG 


IKE  most  Indian  dance-songs,  this  song  may  be  repeated 
an  indefinite  number  of  times,  sometimes  varying  the  form 
by  repeating  certain  parts  instead  of  singing  the  song 
straight  through*  The  beat  of  the  rattle,  also,  varies. 
Sometimes  the  long  rattle-shake  or  the  short  rattle-beats  occur  in 
one  place,  sometimes  in  another. 

The  rattle  used  is  of  horn,  beautifully  carved,  and  filled  with 
pebbles  or  shot.  The  mouth  of  the  horn  is  stopped  with  wood. 

With  the  Maliseet  Indians,  “Kwe-hiu~wha-ni-ho”  is  a  greeting, 
like  “how  are  you?”  It  is  not  used  in  speech,  but  only  in  singing. 


PENOBSCOT  MEDICINE-SONG 

LAMSWE-ZOZEP  TENE  used  to  hear  his  grandfather 
sing  this  song,  and  in  those  old  days  the  song  had  words. 
But  it  has  not  been  sung  by  the  people  for  forty  or  fifty 
years,  and  now  Blamswe  knows  only  the  vocables  used 
in  the  refrain.  The  song  is  thought  to  be  an  old  medicine-song  of 
the  Penobscots,  but  some  of  the  W  abanakis  say  it  is  a  social  song. 


DANCE-SONGS 

Now  used  at  Weddings 
Told  by  Maliseet  Indians 


w 


HEN  a  youth  wishes  to  marry,  he  sends  wampum  to 
the  father  of  the  maid  by  the  hand  of  one  of  the  old 
men  of  the  tribe.  The  old  man  delivers  the  wampum 
and  speaks  in  praise  of  the  youth;  then  he  goes  away. 


If  the  father  send  the  wampum  back  to  the  youth,  it  is  a  sign  that 
the  suit  is  rejected,  but  if  the  wampum  be  kept,  the  youth  knows 
that  he  is  accepted.  When  the  wedding-day  comes,  the  maid  and  her 
lover  each  prepare  a  great  feast  in  the  open  air,  and  then  a  messenger 


THE  INDIANS'  BOOK 


goes  through  the  village,  calling,  “  Your  dishes V*  This  is  the  signal 
that  the  feast  is  ready,  and  all  the  people  gather  to  it,  men,  women, 
and  children,  bringing  bowls  and  platters;  every  one  is  bidden. 

These  are  all  that  are  still  kept  of  the  ancient  marriage  customs, 
and  it  is  only  at  weddings  that  we  still  dance  the  old  Indian  dances. 
We  dance  half  the  evening  in  the  French  or  American  manner  and 
then  the  other  half  in  the  old  Indian  way.  To  keep  time  in  our 
dances,  we  use  a  rattle  made  of  horn,  filled  with  pebbles  or  shot,  and 
stopped  with  wood.  At  the  end  of  the  song  we  call  out  quickly, 
tava,  tcwaf  tiva,  twa ,  like  a  summons  to  others  to  come  and  dance 
with  us.  Sometimes  the  whole  song  is  sung  with  only  **  twa,  twa  ” 
for  words.  The  old  people  still  love  the  Indian  dance,  and  for 
the  wedding  merry-making  wear  all  their  ancient  Indian  orna¬ 
ments  of  silver,  shell,  or  fur. 


MALISEET  DANCE-SONG 


Kwe-hiu-wha-ni-ho 
Ya  hi  ye 

Kwe-hiu-wha-ni-yo 
Ya  hi  ye 
Ya  hi  ye 

Kshi-te-ka-mo-tik  ’lo 
Ya  hi  ye 
Ya  hi  ye 

Pilsh-kwe-sis-tok  ’lo 
Ya  hi  ye 

Ski-no-sis-tok  ’lo 
Ya  hi  ye 

Kshi-te-ka-mo-tik  'lo 
Ya  hi  ye 

Twa,  twa,  twa,  twa !  (etc.) 


Hey,  ho,  dance  away. 

Dance  away  ! 

Hey,  ho,  dance  away. 

Dance  away  ! 

Dance  away  ! 

Harder,  faster  let  os  go. 
Dance  away  ! 

Dance  away  ! 

Youths  and  maidens,  be  gay. 
Dance  away  ! 

Youths  and  maidens,  be  gay. 

Dance  away  ! 

Fast  and  faster  let  us  go. 

Dance  away  ! 

Come,  come,  come,  come  ! 


PASSAMAQUQDDY  DANCE-SONG 

Wagad-alo  He  is  coming,  our  grandfather,1 

N’Musums  sanow  Great  Blamswe-Zozep, 

Kchi  Blamswe-Zozep  With  a  string  of  fish  ! 

Ha-ba-mes-ba-na  We  ho  (etc.) 

We  ho  (etc.) 


‘  44  Grandfather  ”  is  a  title  of  respect  or  reverence  for  any  old  man. 

[  JO] 


WABANAKI 


HUNTING  THE  MOOSE 

Told  by  Bedagi  (Big  Thunder) 

HE  Great  Spirit  made  all  things;  all  men  are  his  children. 
He  made  the  Indians  last  of  all,  and  sot  since  they  are 
his  youngest  children,  they  are  not  as  wise  as  the  white 
men.  But  the  Great  Spirit  said,  “  In  time  you  shall 
know  me,”  And  he  placed  in  the  hands  of  the  Indian  the  bow 
and  said,  **  This  shall  find  for  you  both  food  and  clothing.” 

The  Great  Spirit  is  in  all  things;  he  is  in  the  air  we  breathe. 
The  Great  Spirit  is  our  father,  but  the  earth  is  our  mother.  She 
nourishes  us;  that  which  we  put  into  the  ground  she  returns  to  us, 
and  healing  plants  she  gives  us  likewise.  If  we  are  wounded,  we 
go  to  our  mother  and  seek  to  lay  the  wounded  part  against  her,  to 
be  healed.  Animals,  too,  do  thus,  they  lay  their  wounds  to  the 
earth.  When  we  go  hunting,  it  is  not  our  arrow  that  kills  the  moose, 
however  powerful  be  the  bow;  it  is  nature  that  kills  him.  The  arrow 
sticks  in  his  hide;  and,  like  all  living  things,  the  moose  goes  to  our 
mother  to  be  healed.  He  seeks  to  lay  his  wound  against  the  earth, 
and  thus  he  drives  the  arrow  farther  in.  Meanwhile  I  follow. 
He  is  out  of  sight,  but  I  put  my  ear  to  a  tree  in  the  forest,  and  that 
brings  me  the  sound,  and  I  hear  when  the  moose  makes  his  next 
leap,  and  I  follow.  The  moose  stops  again  for  the  pain  of  the 
arrow,  and  he  rubs  his  side  upon  the  earth  and  drives  the  arrow 
farther  in.  I  follow  always,  listening  now  and  then  with  my  ear 
against  a  tree.  Every  time  he  stops  to  rub  his  side  he  drives  the 
arrow  farther  in,  till  at  last  when  he  is  nearly  exhausted  and  I 
come  up  with  him,  the  arrow  may  be  driven  clean  through  his  body. 
Then  I  can  kill  him  easily  with  my  knife. 

The  moose  comes  when  he  is  called.  We  call  him  with  a  horn 
made  of  bark;  or  we  stand  in  the  water  and  scoop  it  up  and  then  let 
it  slowly  drip  as  if  a  moose  were  drinking.  The  moose  comes  to 
the  sound  because  he  thinks  to  find  his  mate. 

Now  follows  the  story  of  the  moose: 


THE  INDIANS'  BOOK 


STORY  OF  THE  MOOSE 

In  olden  days  the  moose  was  so  large  that  he  used  to  browse  on 
the  tops  of  trees;  also  he  destroyed  the  people.  So  the  Great  Spirit 
sent  Ksiwhambeh1  to  the  people,  and  when  he  had  come  he  called 
us  all  together  and  said,  ”  I  have  come  to  change  that  animal,  the 
moose,  so  that  you  can  take  comfort  in  him." 

Then  Ksiwhambeh  called  for  a  strip  of  birch-bark,  three  hands 
long,  and  when  it  was  brought  him  he  set  one  hand  upon  an  end  of 
it,  and  two  fingers  upon  the  other  end,  and  he  rolled  the  bark  into 
a  horn  and  began  to  call  the  moose.  The  first  time  he  called,  the 
people  could  only  faintly  hear  the  sound  of  the  answer  far  in  the 
distance;  then  he  called  again,  and  the  answer  was  nearer  and 
nearer  till  at  last  a  moose  appeared.  And  Ksiwhambeh  spoke  to 
the  moose  and  said;  **  I  have  come  to  make  you  smaller  so  that 
my  children  can  take  comfort  in  you.  Come  here  to  me.” 

The  moose  came  and  held  down  his  head,  and  Ksiwhambeh  took 
him  between  the  horns  and  pushed  him  down  to  the  size  that  he 
now  has.  Then  Ksiwhambeh  said  to  him,  ”  Henceforth  look  that 
you  never  come  till  you  are  called.” 

Thus  Ksiwhambeh  changed  the  moose;  and  to  this  day  the 
hunter  calls  him  with  a  horn  of  birch-bark. 


MALISEET  LOVE-SONG 

This  song  comes  from  St.  John,  New  Brunswick.  It  is  a  hunter's 
farewell  song.  In  the  autumn  the  youth  sets  out  for  the  long  winter 
hunt,  and  parts  from  his  love,  telling  her  to  watch  for  him  at  the 
breaking  of  the  ice  in  the  spring,  that  she  may  see  him  coming  down 
the  river  in  his  canoe. 

The  Wabanakis  have  many  such  songs.  They  call  them  ”  Songs 
of  Loneliness.” 

1  Culture  hero  of  the  Eastern  Algonquins,  known  among  the  Penobscots  as  Ksiwhambeh, 
Kloskurbeh  (Kluskabe).  Among  the  Passamaquoddys  the  name  is  Kuloscap  or  Glooscop. 

[  12] 


WABANAKI 


LOVE-SONG 

(In  the  Indian  text  certain  syllables  are  interpolated,  changed,  or  prolonged  for  euphony) 


Boskitt  ta-la-bin 
Elmi  na-lamwouik 
Elmi  sigtiak-lo 
Tabegi-lok-lo 
Chipduk  knamihi 
Sakwelagweyan 

Ku  we  nu  de  nu 
Ku  we  nu  de  nu 


Look  oft  up  the  river,  look  oft  and  oft. 
In  spring  at  the  breaking  of  the  ice, 
look  oft ; 

You  may  see  me  coming  down  in  my 
canoe. 

Look  oft  up  the  river,  look  anew,  anew. 


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V 


PLAINS  INDIANS  TITLE-PAGE 

The  buffalo  is  painted  by  Hiamovi  (High  Chief),  of  the  Cheyenne 
tribe.  The  buffalo  is  chosen  to  represent  the  Plains  people,  to 
whose  life  in  former  days  it  was  all  important. 

The  lettering  is  by  Hinook  Mahiwi  Kilinaka  (Angel  De  Cora). 
The  letters  are  formed  of  the  horns  of  the  buffalo. 


J&t*. 


JL 


30A1-3JTIT  zvuaam  2WIAJ3 

s«n»vad3  or!”  <-’,(kiiO  r^iH)  ivomsfli  yd  bsJoir^  ri  oblW  *AT 
ol  ,alqoso  aoisH  sd4  4ns2siqst  ot  nseodo  ei  oliiiw  sriJL  ^ 

.InB'koqmi  Ik  z&vr  4i  2Y*b  ismio.  m  sid  saoriw 
.UioD  sd  bSnA)  *>bnillX  iwidsM  ioonlH  yd  ei  ;  >***»  *•- 
.olisttod  srb  to  arraii  wit  to  bsmiot  sib  =  »”3I  artl. 


ORGANIZATIONS  OF  THE  PLAINS  INDIANS1 


MONG  the  Indians  of  the  plains  there  are  societies  to 
which  the  men  of  the  tribe  belong  according  to  age  or 
achievement.  These  societies  are  religious,  military,  or 
social,  and  some  are  very  old,  while  others  are  modern. 
The  military  organizations  are  old,  and  are  commonly  called  warrior 
societies.  In  old  times  the  different  societies  had  their  several 
peculiar  functions  in  warfare,  in  the  hunt,  and  in  camp  discipline. 
Where  the  organizations  are  regulated  by  age,  a  man  passes  through 
successive  societies  and  graduates  from  the  lower  to  the  higher. 

Among  some  tribes  the  highest  is  the  Chiefs'  Society,  composed 
entirely  of  chiefs ;  the  Fox  Men  are  usually  young,  while  the  Dog 
Soldiers  are  older  warriors  of  high  standing. 

Again,  a  society  may  have  for  the  nucleus  of  its  being  a  dream 
or  supernatural  revelation  common  to  all  its  members ;  or  it  may 
be  the  guardian  of  some  wisdom  revealed  in  vision  by  a  spirit — 
often  the  emblematic  spirit-animal.2  Thus  an  organization  may 
bear  the  name  of  some  animal  whose  virtue  or  psychic  power  it 
incorporates. 

Each  society  has  its  own  songs  and  ceremonies,  and  in  some 
cases  its  members  carry  the  peculiar  staff  or  badge  of  office  belong¬ 
ing  to  the  society,  such  as  a  lance,  a  club,  or  a  crook. 

1  The  Plains  Indians  are  those  who  live  between  the  Mississippi  River  and  the  Rocky 
Mountains,  and  who  used  to  hunt  the  buffalo  in  days  gone  by. 

2  See  “  Songs  of  the  Dakotas,”  page  60,  and  “  Introduction  to  Pawnee  Songs,”  page  96. 


THE  INDIANS'  BOOK 


THE  HOLY  MAN,  OR  "  MEDICINE-MAN  " 

HE  English  word  "medicine"  has  come  to  be  applied  to 
what  the  Dakota  Indian  calls  uaakan .  Wakan  means 
both  mystery  and  holiness,  and  is  used  by  the  Indian 
to  designate  all  that  is  sacred,  mysterious,  spiritual,  or 
supernatural* 

The  Supreme  Being  of  the  Dakotas  is  called  Wakan-Tanka.  In 
English  this  name  is  commonly  rendered  "The  Great  Spirit,"  but 
it  would  be  translated  more  correctly  as  "  The  Great  Holy-Mys¬ 
tery*" 

Wakan-Tanka  is  an  omniscient  force*  This  conception  of  an 
impersonal,  spiritual,  and  life-giving  power  is  held  by  many  Indian 
tribes  as  well  as  by  the  Dakotas,  and  would  seem  in  no  way  to  be  a 
product  of  early  missionary  teaching,  but  rather  an  intense  and 
integral  part  of  the  Indian's  nature.  Besides  the  Great  Mystery, 
the  Indians  recognize  lesser  spiritual  beings  who  are  personifications 
of  certain  elements  in  nature,  in  animals,  and  in  man ;  but  these, 
like  all  else,  owe  their  existence  and  their  power  to  the  Supreme  One. 

The  Wicasa-Wakan,  Holy  Men,  or  Men  of  Mystery,  are  the 
prophets,  soothsayers,  moral  leaders,  and  healers  of  the  tribe.  On 
account  of  their  service  as  healers  they  were  called  by  the  early 
French  traders  medecins ,  or  doctors,  and  the  word  "medecin"  came  to 
be  applied  to  everything  pertaining  to  the  Holy  Man  and  to  all  that 
is  sacred  or  supernatural  to  the  Indian.  Anglicized,  the  word  be¬ 
came  medicine ,  and  thus  the  Holy  Man  is  known  everywhere  in 
English  as  the  "  Medicine-Man." 1  Gatlin  says,  "  The  Indians  do  not 
use  the  word  medicine,  however,  but  in  each  tribe  they  have  a  word 
of  their  own  construction,  synonymous  with  mystery  or  mystery- 
men." 

Healing  plants  and  herbs,  manipulation,  and  the  sweat-bath  are 
curative  agents  long  understood  by  the  Indian.  In  case  of  wound, 

1  A  remarkable  exposition  of  the  true  character  of  the  medicine-man  is  given  in  an  address 
by  Mr.  Francis  La  Flesche,  entitled  “  Who  was  the  Medicine-Man?”  printed  in  the  Thirty-second 
Annual  Report  of  the  Fairmount  Park  Art  Association,  Philadelphia,  1904. 

[321 


PLAINS  INDIANS 


the  poison  is  first  sucked  out  by  the  medicine-man  and  then  healing 
drugs  are  applied.  The  sweat-bath  is  a  means  of  purification  and 
is  connected  with  the  Indian's  religion,  having  its  place  in  many 
ceremonies. 

Broadly  speaking,  the  character  and  functions  of  the  Holy  Man 
are  the  same  in  most  Indian  tribes.  The  Indian  conception  of  heal¬ 
ing  is  through  divine  power;  and  be  the  healing  agent  some  super¬ 
natural  charm,  or  be  it  medicine  in  the  ordinary  sense  of  the  word, 
the  act  of  cure  is  usually  accomplished  amid  song,  ceremony,  and 
prayer. 


DAKOTA  TITLE-PAGE 

A  Dakota  brave  and  Medicine  -  Man,  painted  by  a  Dakota 
Indian,  Tatanka-Ptecila  (Short  Boll).  The  warrior  wears  the 
horned  head-dress  emblematic  of  divine  power,  the  insignia  of 
the  Holy  Man,  or  Man  of  Medicine. 

The  lettering  is  by  Hinook  Mahiwi  Kilinaka  (Angel  De  Cora). 


aoAq-njTn  atc  .  iag 

;  .  C  ,q  ,r:  J  -  snioiba:'”.  £  s  v  •  >•«>.  • 

io  &r.-  art  anivib  to  cu  aldrns  ess-i  -bssH  bsn-toxi 

•anu  -boM  to  rusH  -to  ,asEl  yloH  odi 
.(?  sC  -AbbU&I  iwirtaR  iooni  •[  yd  £•  »ijs)  sriT 


V 


THE  DAKOTAS 

TfH  the  possible  exception  of  the  Ojibwas,  the  Dakotas 
(or  Sioux)  are  the  most  numerous  of  any  Indian  tribe 
within  the  United  States.  The  name  Sioux  is  the  ending 
of  the  word  Nadowesstoux,  said  to  be,  in  its  original  form, 
an  Algonquian  word  signifying  “  snakes” — that  is,  enemies — but 
the  Sioux  call  themselves  **  Dakota,”  or  “  Lakota,”  a  name  mean¬ 
ing  ** allied,”  or  “many  in  one,”  Although  the  Dakotas  have  come 
to  be  associated  almost  exclusively  with  the  West,  there  is  a  theory 
to  the  effect  that  their  home  was  originally  east  of  the  Alleghanies. 
When  first  known  to  the  French,  the  main  body  of  the  Dakota 
nation  had  already  migrated  to  the  most  westerly  regions  of  the 
Great  Lakes,  in  northwestern  Wisconsin,  eastern  Minnesota,  and 
about  the  headwaters  of  the  Mississippi,  From  this  country  they 
were  driven  by  the  French  and  the  Ojibwas,  who  possessed  fire-arms, 
of  which  the  Dakotas  were  at  that  time  ignorant.  They  then  es¬ 
tablished  themselves  in  the  Black  Hills  and  Platte  country.  In 
the  course  of  their  migrations  they  lost  entirely  the  agricultural 

NOTE  FOR  PRONUNCIATION  OF  DAKOTA  TEXT 
(Adapted  from  Riggs's  Dakota-English  Dictionary) 

The  five  vowels  have  each  one  uniform  sound— the  Continental. 

The  following  consonants  are  peculiar  to  the  Dakota  language  : 
c  is  an  aspirate  with  the  sound  of  English  ch,  as  in  chin . 

c  is  an  emphatic  “  c,”  pronounced  like  a  vigorous  “  c  ”  and  followed  by  sudden 
expulsion  of  the  breath. 

g  is  a  deep  sonant  guttural  like  Arabic  ghain. 

h  is  a  strong  surd  guttural  like  Arabic  kha. 

n  in  italic  has  the  nasal  sound  of  “  n  ”  in  the  French  word  bon. 

q  represents  a  sound  bearing  the  same  relation  to  “  k  ”  that  **  c  ”  does  to  **  c.” 

s  has  the  sound  of  sh,  as  in  shine. 

z  has  the  value  of  “  s  ”  in  pleasure. 

[37] 


THE  INDIANS'  BOOK 


habits  that  had  characterized  them  in  their  more  easterly  homes, 
and  with  the  exception  of  the  Eastern  and  Santee  branches,  who 
remained  sedentary  and  agricultural,  the  tribe,  with  the  acquisition 
of  the  horse,  adopted  the  roving  life  of  the  Plains  hunters. 

About  the  year  1875,  when  the  Dakota  and  Ojibwa  struggle 
came  to  a  close,  the  Dakotas  were  in  undisputed  possession  of  terri¬ 
tory  that  stretched  from  Devil's  Lake  to  Sioux  City,  and  from 
the  east  bank  of  the  Mississippi  River  almost  to  the  Rocky  Mountains. 
Little  by  little  these  Indians  were  forced  to  yield  to  the  United 
States  government  one  tract  after  another  of  this  country.  Yet  in 
the  face  of  suffering,  and,  it  must  be  admitted,  of  great  provocation 
to  violence,  the  Dakotas  have  shown  themselves  capable  of  superb 
loyalty,  truth,  and  heroism.  When  forced  to  fight  in  defence  of 
their  hunting-grounds,  the  warriors  proved  themselves  brave  and 
skilful  in  battle;  while  the  warlike  ability  of  their  chiefs  won  the 
admiration  of  those  who  fought  against  them.  Nor  can  the  mas¬ 
sacres  and  depredations  perpetrated  by  minorities  of  the  tribe 
counterbalance  the  uprightness  of  the  majority  and  the  honor  of 
the  leaders. 

The  Dakota  songs  in  this  book  were  contributed  by  members 
of  the  Ogallalla  and  Brule  bands,  belonging  to  the  Teton  branch  of 
the  Dakota  family,  and  now  living  in  the  reservations  of  Pine  Ridge 
and  Rosebud,  South  Dakota.  ■ 


A  HOLY  STORY 


Told  by  Chief  Maza  Blaska  (Flat-Iron,  meaning  a  piece  of  flat  iron).  Maza  Blaska  is  one  of 
the  oldest  living  chiefs  of  the  Ogallalla  band 

ROM  Wakan-Tanka,  the  Great  Mystery,  comes  all  power. 
It  is  from  Wakarc-Tarcka  that  the  Holy  Man  has  wisdom 
and  the  power  to  heal  and  to  make  holy  charms.  Man 
knows  that  all  healing  plants  are  given  by  Wakan-Tanka; 
therefore  are  they  holy.  So  too  is  the  buffalo  holy,  because  it  is  the 
gift  of  Wakan-Tanka.  The  Great  Mystery  gave  to  men  all  things 
for  their  food,  their  clothing,  and  their  welfare.  And  to  man  he  gave 

also  the  knowledge  how  to  use  these  gifts — how  to  find  the  holy  heal- 

138] 


DAKOTAS 


mg  plants,  how  to  hunt  and  surround  the  buffalo,  how  to  know 
wisdom.  For  all  comes  from  Wakan-Tanka — all. 

To  the  Holy  Man  comes  in  youth  the  knowledge  that  he  will  be 
holy.  The  Great  Mystery  makes  him  to  know  this.  Sometimes  it 
is  the  Spirits  who  tell  him.  The  Spirits  come  not  in  sleep  always, 
but  also  when  man  is  awake.  When  a  Spirit  comes  it  would  seem  as 
though  a  man  stood  there,  but  when  this  man  has  spoken  and  goes 
forth  again,  none  may  see  whither  he  goes.  Thus  the  Spirits.  With 
the  Spirits  the  Holy  Man  may  commune  always,  and  they  teach  him 
holy  things. 

The  Holy  Man  goes  apart  to  a  lone  tipi  and  fasts  and  prays. 
Or  he  goes  into  the  hills  in  solitude.  When  he  returns  to  men,  he 
teaches  them  and  tells  them  what  the  Great  Mystery  has  bidden 
him  to  tell.  He  counsels,  he  heals,  and  he  makes  holy  charms  to 
protect  the  people  from  all  evil.  Great  is  his  power  and  greatly  is 
he  revered;  his  place  in  the  tipi  is  an  honored  one. 

Now  I  will  tell  the  story  of  how  a  Holy  Man,  the  greatest  in  the 
tribe,  made  mystery-power  in  the  olden  days. 

The  people  were  encamped  in  a  circle1  with  the  opening  towards 
the  east.  In  the  middle  of  the  circle  they  set  up  a  great  tipi2 
made  of  several  tipis  put  together.  On  one  side  of  the  tipi  sat 
the  women,  on  the  other  side  the  men.  And  they  made  ready  a 
great  feast.  Beyond  the  central  fire,  opposite  the  doorway,  the 
Holy  Man  made  mystery.  With  a  stick  like  an  arrow  he  made  a 
line  of  holes  in  the  ground  a  finger’s-length  deep.  Then  he  touched 
the  ground3  in  front  of  all  the  people  and  came  back  to  the  door- 

1  From  the  writings  of  Hr.  Francis  La  Flesche  we  learn  that  with  the  Omaha  tribe  the  tribal 
circle  typified  the  cosmos,  the  dwelling-place  of  the  Great  Spirit.  The  circle  was  divided  in  half, 
one  section  representing  the  heavens,  the  other  the  earth— -a  symbolic  division  embodying  the 
idea  that  the  Great  Spirit  pervades  the  heavens  and  the  earth.  Mr.  La  Flesche  says,  further, 
“  Each  of  the  two  great  divisions  of  the  tribe  had  its  particular  symbol,  representing  a  cosmic 
force,  or  one  of  the  various  forms  of  life  on  the  earth.  The  name  of  the  clan,  and  the  personal 
names  of  its  members,  all  have  reference  to  its  symbol.  The  personal  name  was  ceremonially 
bestowed  upon  the  child;  so  within  the  tribe  we  have  clan  names  that  refer  to  the  sun,  moon, 
stars,  clouds,  rain,  and  wind;  the  earth,  hills,  lakes,  rivers,  and  all  animals  from  birds  to  insects. 
In  this  manner  the  Indian  recognized  that  all  things  were  created  by  the  Great  Spirit.” 

2  Tipi  is  the  Dakota  word  for  the  native  dwelling  of  the  Plains  Indians — a  conical  tent,  formerly 
made  of  buffalo-hide,  and  frequently  ornamented  and  painted  with  symbols. 

3  An  act  of  consecration. 


[39] 


THE  INDIANS'  BOOK 


way  and  sat  down.  And  he  bade  the  people  hasten  to  prepare 
the  mystery.  So  they  took  clay  and  filled  the  holes  with  it  and 
covered  the  holes  with  earth.  When  they  had  done  this  the  Holy 
Man  touched  the  ground.  Then  he  came  back  to  the  doorway  and 
was  about  to  sing.  And  the  people  watched  the  ground  where  the 
clay  was  buried,  and  behold,  young  plants  began  to  sprout.  Then, 
before  he  sang,  the  Holy  Man  said : 

“  Far  to  the  west. 

Far  by  the  sky 
Stands  a  blue1  Elk. 

That  Elk  standing  yonder 
Watches  o’er  all  the  females 
On  the  earth. 

“Far  to  the  east. 

Far  by  the  sky 
Stands  a  blue  Elk. 

That  Elk  standing  yonder 
Watches  o'er  all  the  females 
On  the  earth."3 

Thus  he  spoke;  then  he  said,  “  Now  I  will  sing,”  and  beating  on  his 
drum  he  sang  a  holy  song.  When  he  had  sung  he  bade  the  people 
pull  up  the  sprouts,  and  they  did  so;  one  by  one  they  pulled  them 
up.  And  behold,  the  roots  were  holy  mystery-power.  And  the 
people  took  the  mystery-power  and  laid  it  on  sprigs  of  sage,  for  sage 
is  holy  because  it  will  heal.  This  mystery  would  protect  the  warriors 
in  war.  No  arrow  could  pierce  them,  no  arrow  could  strike  them, 
unharmed  would  they  pass  through  every  danger. 

So  have  I  told  of  how  a  Holy  Man  made  mystery  to  help  the 
people.  Now  may  Waka/i-Tarcka  help  me,  because  I  have  spoken 
truly  of  how  Wakan-Tanka  bade  the  Indians  to  do  in  the  olden 
times. 

1  The  Dakotas  call  “  blue  ”  what  the  white  man  calls  gray. 

2  The  Elk  is  said  to  have  power  to  guard  females.  Thus  the  Holy  Man  has  invoked  the  power 
of  the  Elk  to  watch  over  the  women,  and  has  made  mystery-power  to  help  the  men  in  battle. 


DAKOTAS 


THE  HISTORY  OF  THE  SPIRIT-DANCE1 

O  understand  the  so-called  “Ghost-Dance  Movement” 
among  the  Indians,  the  white  reader  will  find  it  neces¬ 
sary  to  understand  the  causes  that  inspired  it. 

It  is  hard  for  the  white  man  to  realize  the  suffering 
of  the  red  man  in  the  first  sharp  crisis  of  adjustment  to  the  new 
life.  The  span  of  one  generation  brought  to  the  Indian  of  the 
plains  change  such  as  the  white  man  experienced  only  through 
long  centuries  of  evolution — the  change  from  the  life  of  primitive 
man  to  that  of  civilization.  Nor  did  the  white  man  in  his  wholesale 
slaughter  of  the  buffalo  for  hides  realize,  perhaps,  what  the  ex¬ 
tinction  of  the  animal  would  mean  to  the  people  of  the  prairies,  to 
whom  the  buffalo  supplied  nearly  every  physical  want — -food,  cloth¬ 
ing,  and  even  lodging,  for  of  buffalo-hides  were  made  the  portable 
skin  lodges  of  the  prairie  tribes. 

In  the  white  man’s  invasion  of  the  plains  and  in  the  advent  of 
the  railroad,  the  red  man  saw  his  own  doom.  All  effort  of  the 
Indian  to  stem  the  stream  of  settlement  pouring  through  his  terri¬ 
tory  was  as  a  straw  against  the  tide.  The  railroad  brought  more 
white  men;  the  buffalo  vanished,  and  with  it  passed  forever  from 
the  Indian  the  old  life — the  only  life  he  had  ever  known. 

The  change  was  swift  and  cruel.  “  The  earth  is  our  mother,” 
had  declared  the  Indian.  But  now  no  longer  was  the  Indian  the 
free  child  of  the  prairie.  Confined  in  reservations  and  fed  on  ra¬ 
tions,  or  transported  to  another  clime  where  he  fevered  and  died; 
swept  by  disease,  bewildered  amid  conflicting  change,  crushed  in 
spirit  and  broken  of  heart,  the  Plains  Indian  at  this  period  presents 
to  the  calm  eye  of  history  a  tragic  picture  of  the  workings  of  a 
seemingly  relentless  destiny. 

In  about  the  year  1888,  perhaps  at  a  time  when,  to  the  prairie 
tribes,  their  utter  subjugation  had  become  a  vivid  and  despairing 

1  A  very  fall  and  valuable  study  of  the  religion  of  the  Ghost-Dance,  as  it  is  usually  called, 
has  been  made  by  Mr.  James  Mooney,  of  the  Bureau  of  American  Ethnology,  Washington,  D.  C. 
The  work  is  contained  in  the  fourteenth  annual  report  of  the  bureau. 

1411 


THE  INDIANS'  BOOK 


truth,  there  arose  in  western  Nevada  an  Indian  prophet.  He  was 
a  simple  Paiute,  and  his  teachings  were  simple.  He  announced  that 
he  had  been  with  God,  of  God  was  his  wisdom,  and  from  God  were 
the  messages  he  brought.  First,  there  should  be  no  fighting;  all 
men  should  love  one  another.  A  great  change  was  to  come  over 
the  earth — a  day  when  there  would  be  no  misery  and  no  sickness. 
The  dead  would  return  from  the  spirit-world,  and  all  Indians  would 
be  united  in  deathless  happiness  upon  a  rejuvenated  earth.  The 
Indians  should  make  themselves  worthy  of  the  change.  44  Harm 
no  man,  do  right  always,”  taught  the  prophet.  As  a  holy  rite,  all 
people  should  dance  a  holy  dance  which  the  prophet  gave  to  his 
followers.  The  Indians  should  be  honest  and  industrious,  should 
quietly  do  their  work  and  remain  at  peace  with  the  whites.  For  by 
God  alone  would  be  wrought  the  change,  and  earthquakes  would 
herald  its  approach.  It  was  soon  to  come,  even  with  the  spring. 

Word  flashed  from  tribe  to  tribe — 44  A  savior  has  arisen  for  the 
Indians.”  Delegates  from  different  tribes  were  sent  to  the  prophet 
and  returned  convinced.  Then  followed  unconscious  distortions 
of  the  messages.  Some  Indians,  influenced  by  missionary  teachings, 
cried:  ”  Jesus  is  on  earth.  He  came  once  long  ago  beyond  the 
waters,  and  the  white  people  killed  him.  Now  he  is  come  to  the 
Indians,  who  never  did  him  harm.”  The  Plains  Indians  believed 
that  the  race  would  be  reinforced  by  the  spirits  of  the  dead,  that 
the  old  days  would  come  again,  the  buffalo  return,  the  white  man 
be  swept  back  across  the  sea  or  buried  beneath  the  new  earth  which 
would  cover  the  land.  In  the  country  of  their  fathers  again  would 
the  Indians  be  powerful  and  free.  Men  wise  and  less  despairing 
than  these  hopeless  Indians  have  known  religious  revivals  scarcely 
less  fanatic. 

The  new  religion  developed  into  an  answer  to  the  longing  of 
the  Indian's  heart.  Some  tribes  laid  aside  fire-arms  and  every¬ 
thing  of  metal,  that  they  might  be  as  they  were  before  the  coming 
of  the  white  man.  Many  were  drawn  to  the  new  faith  by  the  word 
that  those  who  danced  in  the  holy  dance  ”  died  ”  (fell  in  a  trance) 
and  went  to  the  spirit-world,  where  they  saw  their  dead  loved  ones. 
Any  one  familiar  with  the  inner  life  of  the  Indians  knows  that,  to 

this  people,  the  trance  condition  is  not  uncommon. 

T  42 1 


DAKOTAS 


The  dancers  moved  in  a  circle,  with  clasped  hands  and  slow, 
dragging  step,  singing  with  rhythmic  swing  the  songs  of  the  Spirit- 
Dance.  Round  and  round  went  the  circle,  while  every  now  and 
then  a  dancer  staggered  from  the  ring  and  fell  swooning  in  a  trance. 
On  awakening,  the  “  dreamer  "  described  his  vision  of  the  spirit- 
world.  Then  the  experience  of  the  trance  was  embodied  in  a  spon¬ 
taneous  song,  to  be  thereafter  used  in  the  dance.  The  passionate 
attachment  of  Indians  to  their  children  and  to  chosen  friends  made 
this  religion,  with  its  hope  and  its  communion  with  the  spirit-world, 
seize  upon  the  people  with  twofold  intensity.  The  new  faith  spread 
from  tribe  to  tribe  like  prairie-fire.  It  was  as  though  a  sudden 
breath  of  hope  had  blown  into  one  last  flame  the  dying  embers  of 
the  native  spirit.  The  flame  flared  for  a  moment  on  the  Indian's 
night,  then  sank  with  the  hideous  tragedy,  the  battle  at  “  Wounded 
Knee"  in  South  Dakota. 

News  that  the  Indians  were  meeting  and  dancing  spread  alarm 
among  the  whites.  Those  who  knew  the  Indians  vainly  counselled, 

“  This  is  a  religious  movement;  do  not  oppose  it  and  it  will  pass." 
Commands  to  the  Indians  to  cease  dancing  met  with  the  response: 

"  We  harm  no  one.  The  Father  has  bidden  us  to  dance.  We 
will  defend  our  religion,  if  need  be,  with  our  lives." 

The  agent  in  charge  of  the  Dakota  Indians  at  Pine  Ridge  was 
unable  to  check  the  dance  among  his  people.  Thoroughly  fright¬ 
ened,  he  telegraphed  for  troops.  At  sight  of  the  soldiers,  the  war¬ 
like  Dakotas  were  in  arms.  "We  will  die,  but  we  will  not  give  up- 
our  religion,"  they  cried.  Broken  promises  of  the  government,  in¬ 
sufficient  rations,  ravages  of  disease,  had  rendered  these  Indians 
wellnigh  desperate.  An  attempt  to  disarm  them  in  the  effort  to 
bring  them  amicably  to  the  agency  was  misunderstood  by  the 
Indians,  who  feared  massacre.  An  Indian  fired  his  rifle.  The 
shot  was  answered  by  a  volley  from  the  troops.  Machine  guns  at 
close  range  mowed  down  the  entire  camp,  blowing  the  victims 
to  pieces.  '  Wellnigh  three  hundred  Dakotas,  men,  women,  and 
children,  fell  in  what  is  now  called  the  massacre  of  Wounded  Knee. 
Brave  Roman  Catholic  missionaries  succored  the  few  wounded 
Indians  who  escaped.  Throughout  the  trouble,  their  loyalty  to 
their  duty  met  with  answering  loyalty  from  the  Indians.  The  ' 

[43] 


THE  INDIANS'  BOOK 


torn,  frozen  bodies  of  the  dead  were  thrown  by  the  whites  into 
an  open  trench  one  upon  another*  Around  the  trench  the  Indians 
have  since  placed  posts  decorated  with  red  paint*  the  holy  emblem 
of  the  Spirit-Dance*  There  is  probably  throughout  the  country 
no  more  pathetic  burial-ground.  All  silently  it  tells  of  the  struggle 
of  a  desperate  people. 

Thus  perished  among  the  Dakota  Indians  the  so-called  **  Ghost- 
Dance  Movement.”  With  some  other  tribes  the  dance  is  still  con¬ 
tinued*  but  not  with  the  old  significance.  The  religion  of  which 
the  dance  is  the  embodiment  has  undergone  this  change — the  hope 
contained  in  it  is  now  a  spiritual  one.  The  old  days  never  came 
again,  but  the  prophet’s  moral  teachings  still  endure.  Since  the 
message  of  the  Paiute*  all  thought  of  strife  has  ceased. 

May  another  prophet  tell  a  future  of  happy  adjustment  to  the 
new  life!  For  with  the  slaughtered  Indians  in  the  trench  at  Wound¬ 
ed  Knee  lies  buried  the  hope  of  the  people  of  the  plains  for  the 
happiness  of  vanished  days. 

Short  Bull  (Tatartka-Ptecila)*  a  Dakota  medicine-man*  had  been 
a  leader  in  the  new  religion.  He  was  revered  among  his  people  as  a 
great  medicine-man*  a  prophet*  and  a  worker  of  miracles.  He  was 
one  of  those  who  first  sought  “  the  Father*”  as  the  Indians  called 
the  Paiute  prophet.  He  had  brought  back  to  his  people  the  messages 
and  the  dance*  and  had  given  them  many  songs.  He  had  made  the 
„  charmed  “  ghost-shirts  ”  which  should  render  the  Indians  invul¬ 
nerable  to  the  white  man’s  bullet.  He  had  taught*  had  prophesied* 
had  led. 

Short  Bull  is  low  of  stature  (hence  his  name*  “  Short-Buffalo- 
Bull  ”)*  but  he  bears  himself  with  the  dignity  of  the  Indian  of  the 
past  generation.  His  face  is  full  of  distinction,  diplomacy*  and 
power;  but  it  is  marked  with  wistful  dreaminess.  It  is  the  face 
of  the  seer — visionary*  intellectual*  and  idealistic.  Most  striking 
of  all  is  the  expression  of  profound  sadness. 

Short  Bull  saw  the  old  life  pass,  he  saw  the  new  hope  killed  at  a 
blow.  The  noble  sorrow  of  his  race  is  graven  on  his  face. 

From  Short  Bull’s  own  lips  The  Indians’  Book  receives  the  story 

of  his  visit  to  **  the  Father  ”  and  his  message  to  his  people. 

[44] 


Tatarcka-Ptecila  (Short  Bull) 


DAKOTAS 


SHORT  BULL'S  NARRATIVE 

Note. — The  white  reader  should  bear  in  mind  that  this  is  the  narrative  of  a 
seer.  As  is  usual  with  Indians,  the  language  is  often  figurative.  In  the  English 
rendering,  the  attempt  has  been  made  to  reflect  the  rhythmic  dignity  and  simplicity 
of  the  Dakota.  The  narrated  visit  to  the  spirit-camp  was  probably  a  vision,  or 
was  made  in  a  trance.  To  the  Indian,  such  a  vision  is  as  real  as  a  waking  event. 
The  visit  to  the  other  camp  was  a  reality.  The  Paiute  Indians  wear  blankets  or 
robes  of  rabbit-skin.  He  who  is  referred  to  as  **  this  one  of  the  rabbit-robe  ”  is 
the  prophet,  known  to  the  people  as  **  the  Father.”  **  The  land  where  the  sun  sets  ” 
is  Nevada,  the  home  of  the  prophet.  **  Rosebud  **  is  an  Indian  reservation  in 
South  Dakota. 

HO  would  have  thought  that  dancing  could  make  such 
trouble?  We  had  no  wish  to  make  trouble,  nor  did  we 
cause  it  of  ourselves.  There  was  trouble,  but  it  was 
not  of  my  making.  We  had  no  thought  of  fighting; 
if  we  had  meant  to  fight,  would  we  not  have  carried  arms  ?  We 
went  unarmed  to  the  dance.  How  could  we  have  held  weapons  ? 
For  thus  we  danced,  in  a  circle,  hand  in  hand,  each  man's  fingers 
linked  in  those  of  his  neighbor. 

Who  would  have  thought  that  dancing  could  make  such  trouble  ? 
For  the  message  that  I  brought  was  peace.  And  the  message  was 
given  by  the  Father  to  all  the  tribes.  Thus  it  happened: 

I  journeyed  to  the  land  where  the  sun  sets,  and  then  I  went 
to  the  spirit-land,  where  I  saw  the  spirit-encampment.  I  drew 
near  and  stood  outside  a  spirit -tipi.  A  spirit-man  came  out  and 
stood  beside  me.  He  spoke  to  me  and  said: 

**  Behold,  I  give  you  something  holy!"  Then  he  said,  “  Whence 
come  you  ?" 

And  I  answered,  **  I  come  from  Rosebud." 

Then  said  the  spirit-man,  **  Go  we  together  in  a  cloud,  upward, 
to  the  Father." 

So  we  rose  in  a  cloud  to  where  were  other  camps,  and  there  we 
saw  those  who  wear  the  blanket  of  rabbit-skin.  As  we  passed 
through  the  camp  of  these,  there  came  towards  us  a  man  and  his 
wife.  Said  this  one  of  the  rabbit-robe : 


THE  INDIANS'  BOOK 


**  I  would  speak  with  you  now.  Behold,  I  tell  you  something 
for  you  to  tell  to  all  the  people !  Give  this  dance  to  all  the  different 
tribes  of  Indians.  White  people  and  Indians  shall  all  dance  to¬ 
gether.  But  first  they  shall  sing.  There  shall  be  no  more  fighting. 
No  man  shall  kill  another.  If  any  man  should  be  killed  it  would  be 
a  grievous  thing.  No  man  shall  lie.  Love  one  another.  Help  one 
another.  Revile  not  one  another.  Hear  me,  for  I  will  give  you 
water  to  drink.  Thus  I  tell  you,  this  is  why  I  have  called  you. 
My  meaning,  have  you  understood  it  ?” 

Thus  spoke  he  of  the  rabbit-blanket,  and  holy  red  paint  he  gave 
to  me.  In  the  spirit-camp  I  had  seen  those  who  had  died,  and 
when  I  came  homeward  there  came  with  me  two  spirit-companions, 
invisible  to  all  but  me.  These  journeyed  with  me  and  stayed 
ever  with  me.  I  heard  their  counsel. 

Alone  in  my  tipi  I  dreamed,  and  saw  visions,  and  communed 
with  the  spirits.  And  I  went  forth  and  taught  the  people  and  told 
them  of  the  Father's  word  and  of  the  help  that  should  come  to  the 
Indians.  There  were  others  who  taught  as  well  as  I.  The  Father 
had  commanded  all  the  world  to  dance,  and  we  gave  the  dance  to 
the  people  as  we  had  been  bidden.  When  they  danced  they  fell 
dead  and  went  to  the  spirit-camp  and  saw  those  who  had  died,  those 
whom  they  loved  —  their  fathers,  their  mothers,  and  their  little 
children.  Then  came  trouble.  Yet  in  our  dance  we  harmed  no 
one,  nor  meant  we  ill  to  any  man.  As  the  Father  had  commanded, 
so  did  we. 

It  is  true,  all  men  should  love  one  another.  It  is  true,  all  men 
should  live  as  brothers.  Is  it  we  who  do  not  thus  ?  What  others 
demand  of  us,  should  they  not  themselves  give?  Is  it  just  to  ex¬ 
pect  one  friend  to  give  all  the  friendship?  We  are  glad  to  live 
with  white  men  as  brothers.  But  we  ask  that  they  expect  not  the 
brotherhood  and  the  love  to  come  from  the  Indian  alone. 

In  this  world  the  Great  Father  has  given  to  the  white  man 
everything  and  to  the  Indian  nothing.  But  it  will  not  always 
be  thus.  In  another  world  the  Indian  shall  be  as  the  white  man 
and  the  white  man  as  the  Indian.  To  the  Indian  will  be  given  wis¬ 
dom  and  power,  and  the  white  man  shall  be  helpless  and  unknowing 
with  only  the  bow  and  arrow.  For  ere  long  this  world  will  be  con- 

[46] 


DAKOTAS 


sttmed  in  flame  and  pass  away*  Then,  in  the  life  after  this,  to  the 
Indian  shall  all  be  given. 

With  clasped  hands  stood  the  Indian  narrator  and  the  white 
recorder,  and  then  the  white  friend  spoke: 

“  I  leave  you  with  this  word:  Be  of  good  heart*  Even  though 
the  old  days  are  gone,  never  to  come  again,  still  be  of  good  heart. 
A  better  day  will  dawn  for  your  people.  The  old  days  will  never 
be  again,  even  as  a  man  will  never  again  be  a  child.  Those  days 
were  the  happy  childhood  of  your  race.  Manhood  brings  sorrow 
and  sorrow  wisdom.  Wise  through  sorrow  will  be  your  people, 
and  the  days  of  full  maturity  will  be  warm  with  sunshine.  You 
journeyed  to  the  west  for  tidings  of  hope.  You  sought  the  Father 
in  the  land  of  the  sinking  sun.  The  hope  you  brought  of  the  old 
life  was  not  as  the  dawn-light,  but  as  the  after-glow  of  sunset 
skies.  Now  look  for  the  new  day.  In  the  land  where  the  sun  rises 
the  Indians  have  friends.  Not  westward,  but  eastward  seek  the 
coming  of  the  light.” 

May  The  Indians'  Book  echo  to  every  Indian  the  message,  “  Look 
for  the  new  day  V* 

WANAGI  WACIPI  OLOWAAr 

Songs  of  the  Spirit-Dance  (Ghost-Dance  Songs) 

Sung  and  told  by  Tatanka-Ptecila  (Short  Bull) 


I 

WANAGI  WACIPI  OLOWAJV 

Ateyapi  kin 
Maka  owancaya 
Lowan  nisipe-lo 
Heya-po, 

Heya-po, 

Oyakapo — he  I 
Oyakapo — he  I 


SONG  OF  THE  SPIRIT-DANCE 

Thus  the  Father  saith, 

Lo,  he  now  commandeth 
All  on  earth  to  sing. 

To  sing  now. 

Thus  he  hath  spoken. 

Thus  he  hath  spoken. 

Tell  afar  his  message, 

Tell  afar  his  message  ! 


[47] 


THE  INDIANS'  BOOK 


II 

In  this  song  the  dancer  calls  to  the  dead  mother  to  come  back, 
for  the  little  brother  is  always  crying,  always  crying.  The  song 
was  much  sung  in  the  time  of  the  Spirit-Dance.  Many  of  the  songs 
of  the  Spirit-Dance  end  with  the  words,  **  Saith  the  Father/'  like 
a  final  benediction. 


WANAGI  WACIPI  GLOW  A  A/ 

Ina,  hekuye, 

Ina,  hekuye, 

Misunkala  ceya-ya  omani, 
Misunkala  ceya-ya  omani 
Ina,  hekuye, 

Ina,  hekuye ! 

Ate  heye-lo. 

Ate  heye-lo ! 


SONG  OF  THE  SPIRIT-DANCE 

Mother,  oh  come  back, 

Mother,  oh  come  back, 

Little  brother  calls  as  he  seeks 
thee,  weeping, 

Little  brother  calls  as  he  seeks 
thee,  weeping. 

Mother,  oh  come  back. 

Mother,  oh  come  back  ! 

Saith  the  Father, 

Saith  the  Father. 


Ill 

This  song  tells  how  the  dancer  has  been,  in  trance,  to  the  spirit- 
world,  and  there  has  feasted  with  his  friends  upon  the  old-time 
Indian  dish  of  pemmican,  made  of  dried  buffalo -meat,  pounded 
fine,  with  tallow,  wild-cherries,  and  spices. 


WANAGI  WACIPI  OLOWAN 

He,  he,  wanna  wawate. 
He,  he,  wanna  wawate  ; 
Wasna  watinkte, 

Wasna  watinkte ! 


SONG  OF  THE  SPIRIT-DANCE 

Hey,  hey,  joyous  feast  we  now. 
Hey,  hey,  joyous  feast  we  now ; 
Eating  pemmican. 

Eating  pemmican  ! 


DAKOTAS 


WICASA-ATAWAAT  OLOWAiV 

Song  of  the  Seer 

Sung  and  told  by  Tatanka-Ptecila  (Short  Bull),  a  Holy  Man,  Prophet,  or  “  Medicine-Man.’' 


HE  tribe  always  camped  in  a  circle,  and  in  the  middle 
of  the  circle  was  a  place  called  Hocoka,  the  centre. 

Before  the  people  set  oat  to  war,  the  prophet,  or 
holy  man,  made  a  tipi  for  himself  and  sat  in  it  alone, 
looking  into  the  fatare  and  seeing  in  vision  all  that  woald  befall. 
The  people  brought  him  offerings  of  gifts,  and  he  made  holy  em¬ 
blems  and  charms  to  protect  them  in  battle. 

Then,  before  sending  out  the  scouts,  the  warriors  assembled  in 
the  centre  of  the  camp  and  sat  in  a  circle  awaiting  the  prophet. 
He  came  forth,  singing  a  holy  song,  and  bestowed  upon  the  warriors 
the  charms  that  he  had  made,  and  told  to  every  man  his  fate. 

This  is  the  song  of  prophecy  that  he  sang.  In  the  last  part 
of  the  song,  where  now  there  are  only  sounds  of  no  meaning,  he 
sang  words  which  foretold  to  each  warrior  the  fate  that  would 
befall  him  in  the  strife. 

This  song  is  sung  when  the  tribe  is  going  to  war,  just  before  the 
scouts  set  out  to  find  the  enemy. 

WICASA-ATAWA N  OLOWAiV  SONG  OF  THE  SEER 

Hocoka  wan  cicuqon  In  this  circle, 

Yutonkal  nunwe  O  ye  warriors, 

Lo,  I  tell  you 
Each  his  future. 

All  shall  be 

As  I  now  reveal  it 

In  this  circle; 

Hear  ye ! 


THE  INDIANS'  BOOK 


SU7VKA  OLOWA N 

Song  of  the  Dog  Society 1 

N  old  times  when  the  hosts  were  drawn  tip  for  battle,  it 
was  the  duty  of  certain  of  the  Dog  Soldiers  to  dismount 
in  front  of  the  hosts  and  drive  their  lances  into  the  ground* 
To  these  lances  they  tied  themselves  with  a  buckskin 
thong.  Every  man's  heart  grew  strong  when  the  Dog  Soldiers 
drove  down  the  lance.2  There  they  stood  at  the  front  of  the  battle, 
shaking  their  rattles  and  singing.  Howsoever  the  battle  might  go, 
the  hosts  might  not  turn  back  until  the  Dog  Soldiers  gave  the  signal. 
Even  then  the  Dog  Soldiers  would  not  themselves  leave  their  posts 
until  one  of  their  own  society  should  pull  up  the  lance  and  whip 
them  away.  If  the  flying  warriors  forgot  to  release  them,  the 
Dog  Soldiers  died  where  they  stood.  For  death  is  as  nothing,  and 
pain  is  as  nothing;  but  cowardice  is  crime,  and  disgrace  is  the  greatest 
punishment. 

TASUiVKE-SKA  OLOWAiV 


Song  of  the  White-Horse  Society 3 


Sung  by  Matoisto-Nakipin  (Bear- Arm-Necklace,  meaning  necklace  of  claws  from  the  forefeet 

of  the  bear). 

TASUATKE-SKA  OLOWAW  SONG  OF  THE  WHITE-HORSE  SOCIETY 


Kola,  taku 
Otehika 
Xmakuwapi-lo 
Hena  kowokipi  sni 
Waon  welo ! 


Friend,  whatever  hardships  threaten, 
If  thou  call  me, 

I'll  befriend  thee; 

All  enduring  fearlessly. 

I'll  befriend  thee. 


1  See  “  Organizations  of  the  Plains  Indians,”  page  31. 

2  The  Dog  Soldiers  were  human  emblems  of  courage  and  their  presence  inspired  their  fol¬ 
lowers  with  desperate  zeal. 

’Often  sung  while  on  the  war-path.  See  “The  War-Path,”  page  154. 

[50] 


DAKOTA 


TOKALA  OLOWAiV 

Songs  of  the  Fox  Society 

Sung  and  told  by  Wicapi  (Star) 

HE  Dakotas  tell  how,  a  few  years  ago,  a  party  of  young 
men  went  over  into  Montana  to  hunt.  They  were  un¬ 
justly  arrested  by  the  local  sheriff,  and  Agna-Iyanke 
(Runs  Beside)  was  shot.  Though  mortally  wounded, 
he  lived  two  days,  and,  being  a  Fox  warrior,  he  sang  on  his  home¬ 
ward  journey  a  song  of  the  Fox  Society.  His  song  is  the  first  of 
the  two  Fox  songs  here  recorded.  The  melody  is  old,  but  the 
words  are  Agna-Iyanke's  own. 

The  second  song  was  sung  by  the  men  of  the  Fox  Society  at 
their  next  dance  in  honor  of  their  dead  companion. 


TOKALA  OLOWAN 


SONG  OF  THE  FOX  SOCIETY 


Tokalaka  miye  ca,  Lo,  the  Fox,  the  Fox  am  I ! 

Nakenula  waon  welo.  Still  the  Fox  a  moment  yet. 

Then  the  Fox  shall  be  no  more. 


TOKALA  WACIPI  OLOWAV  DANCE-SONG  OF  THE  FOX  SOCIETY 


Omani  kin  nayapapi,  ca 
Agna-Iyanke  hena  yunke-lo ! 


Ha,  you  hunters, 

All  you  hunters  fled, 

Yea,  but  the  Fox  fled  not. 
There,  behold,  he  lay ! 

Ha,  you  fled. 

But  there,  behold,  he  lay ! 


THE  INDIANS’  BOOK 


WAKAN  OLOWAiV 

Holy  Song  (Medicine-Song) 

Sung  and  told  by  Wambli-Waste  (Good-Eagle),  a  Holy  Man. 


N  the  banks  of  a  thickly  wooded  creek  the  people  camped, 
and  there  came  to  them  a  Holy  Man  who  said,  **  Give 
me  of  your  bracelets  and  yottr  rings,  and  in  return  I 
will  do  so  much  for  yon  that  yott  shall  feel  no  sickness 
as  long  as  my  own  life  shall  endure.” 

They  gave  him  bracelets  and  rings,  both  of  buffalo-hide  and 
of  silver,  and  then  the  Holy  Man  told  them  to  make  for  him  a  sweat- 
lodge,  such  as  the  people  call  ”  new  life,”  because  the  man  that 
comes  out  of  it  feels  as  if  made  anew.  So  when  he  had  purified 
himself  in  solitude  he  set  up  a  pole  in  the  earth,  and  bound  upon 
it  a  buffalo-calf’s  hide  painted  red.  Then  the  crier  went  through¬ 
out  the  camp  and  called  for  all  the  sick  to  come  close  to  the  pole, 
and  when  they  were  gathered  there  they  cut  off  strips  of  skin  from 
their  arms  for  an  offering  and  laid  them  at  the  foot  of  the  pole. 
Then  came  forth  the  Holy  Man,  and  he  set  a  wooden  cup  at  the  foot 
of  the  pole,  and  began  to  sing  this  song: 

“  0  ye  people,  be  ye  healed  ; 

Life  anew  I  bring  unto  ye. 

Through  the  Father  over  all 

Do  I  thus. 

Life  anew  I  bring  unto  ye.” 

While  he  sang,  water  trickled  down  the  pole  until  it  filled  the 
cup.  He  gave  the  cup  to  the  sick,  and  they  all  drank  of  the  water 
and  were  healed,  yet  the  cup  was  never  empty.  And  when  they 
had  all  drunk,  he  sent  them  to  their  tipis  and  bade  them  rest  un¬ 
til  evening.  When  the  sun  was  down  they  gathered  again  about 
the  pole,  and  the  Holy  Man  cleared  a  space  upon  the  ground  and 
sang  again  and  drew  with  his  finger  in  the  dust.  No  man  could  tell 

the  meaning  of  that  which  he  had  drawn,  until  the  Holy  Man  spread 

[52] 


DAKOTA 


his  hand  above  the  characters,  and  looked  upon  the  ground  and 
said,  “  The  spirits  of  the  fathers  tell  me  that  to-morrow  you  shall 
see  buffalo  in  plenty,  and  every  man  of  you  shall  kill  three/'  Also 
he  said,  **  You  shall  cut  off  the  legs  and  cut  out  the  tongues  and 
hearts  of  all  those  that  you  kill,  and  leave  them  for  an  offering 
to  the  Great  Mystery ;  but  you  shall  bring  to  me  forty  hides," 

All  happened  as  he  had  said,  and  he  took  the  hides  and  made 
of  them  forty  holy  shirts  for  the  people.  Then  he  told  them  to 
bring  him  clay  and  straw  and  charcoal,  and  with  these  he  made 
gunpowder,  caps,  and  wads,  and  gave  to  all  men.  So  when  he  had 
provided  thus  for  the  people,  he  called  them  all  and  ranged  them  in 
a  line,  and  then  he  stood  at  the  end  of  the  line  holding  a  wooden 
pipe  in  his  hands,  and  he  filled  the  pipe  and  lit  it  from  the  rays  of 
the  sun,1  and  then  passing  it  from  hand  to  hand  each  man  blew 
out  a  few  whiffs  to  symbolize  the  breath  of  life.  Then  said  the 
Holy  Man :  “  This  people  is  good.  I  have  healed  their  sickness.  I 
have  renewed  their  life.  Now  shall  I  go  back  to  my  own  place." 
After  that  the  people  saw  him  no  more. 


WAKA N  OLOWA N  HOLY  SONp 


Oyate  wan  waste  ca 
Wanna  piyawakage-lo  ! 
Wankanta  Tunkansila  heya  ca 
Wanna  piyawakage-lo  ! 


0  ye  people,  be  ye  healed ; 
Life  anew  I  bring  onto  ye. 
0  ye  people,  be  ye  healed  ; 
Life  anew  I  bring  onto  ye. 
Throogh  the  Father  over  all 
Do  I  thos. 

Life  anew  I  bring  onto  ye. 


The  Navajo  Indians  light  their  ceremonial  cigarettes  by  the  son  by  means  of  a  crystal. 


THE  INDIANS'  BOOK 


SU7VGMANITU  OLOWAW 

Wolf  Song 

Sung  and  told  by  Chief  Tasunke-Hinto  (Blue  Horse)’ 

0  other  man  may  sing  this  song  but  Tasunke-  Hinto* 
He  only  has  the  right,  for  it  is  his  own  song,  learned 
by  him  of  the  wolves.  So  long  as  the  wolves  shall  live, 
so  long  shall  Tasunke  -  Hinto  live ;  and  when  they  die, 
he  too  will  die. 

This  is  how  he  learned  the  song : 

When  he  was  a  young  man  of  twenty-seven  winters,  he  set  out 
on  the  war-path  “  with  twelve  other  warriors.  Just  as  the  dawn 
grew  yellow  he  heard  the  wolves  begin  to  sing,  and  one  of  them 
broke  into  this  song.  Tasunke-Hinto  listened  to  the  wolfs  song 
and  learned  it  and  took  it  for  his  own.  It  is  in  very  truth  the 
song  that  the  wolf  sang  at  dawn.  Tasunke-Hinto  then  sang  it  to 
his  comrades — and  lo !  on  that  same  day  they  met  a  war-party 
of  Pawnees,  and  killed  them,  every  man.1 2 3 

Tasunke- Hinto  is  now  very  old,  but  he  still  sings  the  Song 
of  the  Wolf.  Before  he  sings  he  turns  to  the  west,  and,  holding 
up  his  hand,  calls  aloud :  u  O  West  Wind,  and  ye,  my  old  comrades, 
if  any  be  there,  listen,  listen  to  my  song !”  For  he  says:  “  The 
East  is  the  white  man's  country,  but  the  West  is  where  we  belong, 
I  and  the  wolves,  and  my  old  friends  now  long  dead.  Perhaps  I 
shall  soon  be  with  them !” 


1  The  Dakotas  call  “  blue  ”  what  the  white  man  calls  gray. 

2  See  “The  War-Path,”  page  154. 

'The  wolf,  as  an  animal,  is  a  symbol  of  war.  Also,  the  Pawnees  are  known  as  Wolves; 
they  are  hereditary  foes  of  the  Dakotas. 


Tasurcke-Ciqala  (Little  Horse)  A  Chief  of  the  Olden  Time  (Chief  Yellow-Hair) 


DAKOTA 


OLOWA N 

Song 

Sang  and  told  by  Tasanke-Ciqala  (Little  Horse) 

HIS  song  tells  how  an  aged  warrior  sees  the  young  men 
setting  out  to  war,  and  as  he  thinks  of  his  own  by-gone 
glory,  he  sadly  realizes  that  he  is  now  only  an  old  man 

with  the  toothache.  When  the  people  are  gathered  for 
a  dance  or  festival,  this  song  may  be  sung  in  honor  of  some  old 
warrior,  who  then  makes  gifts  of  garments  or  horses  to  the  singers. 


OLOWAiV 

Okicize  iyotan  micilaqon, 

Miye  sni  se,  iyotiyewakiye-lo  ! 


SONG 

Mighty,  mighty,  great  in  war. 

So  was  I  honored  ; 

Now  behold  me  old  and  wretched ! 


OMAHA  WACIPI  OLOWAiV 

Omaha  Dance-Songs 
Sang  by  Tasunke  Ciqala  (Little  Horse) 


HE  Omaha  Dance* 1  came  from  the  Omahas.  It  is  an 
occasion  when  men  narrate  the  tales  of  great  deeds 
and  make  gifts  to  one  another;  it  has  now  become  also 
a  social  gathering  of  the  people. 

I 

OMAHA  DANCE-SONG 

Charged  the  foe. 

But  I  made  a  woman  of  him ! 

1  See  "Winnebago  He-lush-ka  Na-wan.” 

155] 


OMAHA  WACIPI  OLOWA N 
Natanhiwan  winy  an  wakage 


THE  INDIANS'  BOOK 


II 

At  the  end  of  the  Omaha  dance  a  feast  is  heldt  the  food  being 
first  consecrated  by  ceremony.  This  song  is  sung  during  the  con¬ 
secration.  as  a  summons  to  the  people  to  partake  of  the  feast. 


OMAHA  WACIPI  OLOWA N 

OMAHA  DANCE-SONG 

Ho,  leciya  nicopi ! 

Come  hither,  hither,  ho  ! 

Hither  now  we  summon  ye ! 

Come  hither,  ho  ! 

Hither,  ho  ! 

WIOSTE  QLOWAAT 

Love-Songs 

These  love-songs  are  modern;  they  are  current  Indian  songs  of 
the  day. 

I 

Sung  by  Capa-Tanka  (Big  Beaver,  Frank  Goings) 


WIOSTE  OLOWAN 

LOVE-SONG 

Tokiya  amayaleso? 

Tokiya  amayaleso? 
Hignawaya  cm  na 
Temahilaqon, 

Esa  wagnikte! 

Esa  wagnikte! 

Nay,  love,  but  whither  are  you  leading  me! 
Nay,  love,  but  whither  are  you  leading  me? 
My  own  husband  loves  me. 

He  whom  I  have  left. 

Leave  me,  for  he  loves  me. 

Leave  me,  let  me  go. 

0  leave  me  ! 

II 

Sung  by  Capa-Tanka  (Big  Beaver) 


WIOSTE  OLOWA N 

LOVE-SONG 

Inkpataya  nawazin 

Na  sina  cicoze 

Ma-ya,  Ma-ya, 

Leciya  ku  wanna  ! 

Up  the  creek  I  stand  and  wave  ; 

See,  all  alone  I  wave  ! 

Ah,  hither. 

Ah,  hither. 

Haste  thee  to  me  ! 

[56] 


DAKOTA 


III 


Sung  by  Tasunke-Ciqala  (Little  Horse) 


WIOSTE  OLOWAiV 


LOVE-SONG 


Koskalaka  otapi  tka, 

Nisna  iyokipi  mayaye. 
Iyotan  cilaqon, 

Wankiciyake  sni  unqonkte  ! 


Many  are  the  youths,  many  youths  t 
Thou  alone  art  he  who  pleaseth  me. 
Over  all  I  love  thee. 

Long  shall  be  the  years  of  parting  I 


IV 


Sung  by  Tatanka-Hinapawi  (Buffalo-Appearing)  wife  of  Tasunke-Ciqala 


WIOSTE  OLOWAW 


LOVE-SONG 


Eyas  hececa  ye  lakas, 
Awanicigla  waonqon. 

He-ye,  he-ye, 
Nape-mayuza  ! 


Know  the  reason  of  our  parting  : 

I  have  watched  thee  well,  faithless  one  l 
He-ye,  he-ye. 

Clasp  my  hand  and  part ! 


V 


Sung  by  Wicapi-Wakan  (Holy  Star,  Julia  Yellow-Hair) 

In  the  present  state  of  transition  from  the  old  life  to  the  new, 
Indian  children  often  are  educated  by  the  government  at  a  distant 
boarding-school,  where  they  must  remain  for  five  years  without  re¬ 
turning  home,1  Not  infrequently  the  pupil  stays  in  school  for  a 
longer  period  than  the  five  years,  and  on  going  home  finds  the  life 
of  his  people  completely  strange  to  him.  It  is  not  at  all  uncommon 
for  the  Indian  child  to  have  forgotten  his  own  language  during 
the  school  period,  and  so,  on  his  return,  to  be  unable  to  speak 
with  his  parents.  The  going  away  to  boarding-school,  with  its 
parting  from  parents  and  friends,  is  a  distinct  era  in  the  life  of  the 
Indian.  The  following  song  shows  how  throughout  the  changing 
conditions  of  his  life  the  Indian  retains  the  instinct  to  embody 
experience  in  song.  It  is  supposed  to  be  sung  by  a  young  maid  just 
setting  out  for  school. 


1  See  page  xxxiii. 
[57] 


THE  INDIANS’  BOOK 


Holy  Star  (Julia  Yellow-Hair)  is  in  boarding-school,  and  that 
is  why  she  has  chosen  this  song  for  her  contribution  to  The  Ind¬ 
ians’  Book.  She  is  granddaughter  of  the  aged  chief,  Yellow-Hair, 
renowned  among  the  Dakotas. 


WIOSTE  OLOWA N 


LOVE-SONG 


Ehake  wanmayakuwe, 
Ehake  wanmayakuwe. 
Sice  tecihilaqon  ! 

Wanna  waya  wamanikte. 
Ehake  wanmayakuwe, 
Ehake  nape-mayuza  ! 


For  the  last  time,  come  greet  me  again. 
For  the  last  time,  come  greet  me  again, 
Dear  friend,  I  loved  thee  alone  ! 

Now  to  school  I’m  going  away  ; 

For  the  last  time,  come  greet  me  again. 
For  the  last  time,  come  take  my  hand ! 


SUiVKA  OLOWAiV 

Song  of  the  Dog-Feast 

Sting  and  told  by  Chief  Maza-Blaska  (Flat-Iron,  meaning  a  piece  of  flat  iron) 

EHOLD,  it  was  thus.  Once  long  ago  in  the  season  of 
falling  leaves  the  Dakotas  went  hunting  at  the  edge  of  the 
Black  Hills.  The  people  were  starving  and  great  was 
their  need  of  meat,  So  they  vowed,1  “If  only  we  find 
buffalo  we  will  give  all  our  dogs  a  feast.’’  Thus  they  vowed. 

Lo,  soon  afterwards  they  saw  a  herd  and  killed  many  buffaloes, 
and  came  back  to  their  camp,  weary  but  rejoicing.  Then,  true  to 
their  vow,  they  made  a  great  feast  for  their  dogs;  in  the  centre  of 
the  camp  they  piled  all  the  tallow  from  the  buffaloes  and  amid  this 
they  scattered  the  tongues.  So  they  did,  giving  to  the  dogs  the 
choicest  morsels.  Then  the  men  took  their  dogs  and  painted  them 
for  the  feast.  With  a  stripe  of  red  down  the  back  and  red  on  the 
side  of  the  jaw  they  painted  them.  Then  they  led  them  to  the  pile 
of  tallow  in  the  centre  of  the  camp  and  held  them  in  a  circle  while  all 
sang,  “May  you  feast  well,  O  dog!’’  Three  times  they  sang  this  song, 
while  the  dogs  strained  and  growled  and  yelped.  Then  a  man  cried 
out,  “Hold  well  your  dogs!  Once  more  shall  the  song  be  sung.’’ 


To  the  spirit-animals:  perhaps  to  the  Dog.  See  introduction  to  Pawnee  songs. 


DAKOTA 


So  yet  again  the  people  sang,  while  the  dogs  strained  harder; 
then  at  the  last  of  the  song— away!  The  dogs  flew  at  the  meat  and 
devoured  it  eagerly,  every  morsel.  Lo,  they  as  well  as  their  masters 
had  hungered  long. 

Thus  came  about  the  custom  of  the  Dog-Feast.  It  was  the 
grandfather  of  Maza-Blaska  who  originated  it.  It  has  great  mystery- 
power;  through  it  the  Dog  is  honored,  and  the  secrets  of  the  Dog,  in 
mystery  and  in  hunting,  are  revealed  to  the  men  of  the  feast. 

SU-VKA  OLOWAiV  SONG  OF  THE  DOG-FEAST 

I 

Sunka  wayatanin !  May  you  feast  well,  0  dog  ! 


OKICIZE  OLOWAJV 

War-Song 

Sung  by  Tasunke-Hinsa  (Sorrel  Horse),  Mahpiya-Tatanka  (Sky  Bull,  meaning  buffalo-bull), 
and  Mato-Wankantuya  (High  Bear) 


HIS  is  a  war-song  well-known  among  the  Dakotas.  It 
is  an  old  song  and  was  sung  by  the  Dakotas  when 
fighting  for  their  land.  It  is  now  sung  by  chiefs  on 
various  occasions,  sometimes  at  the  opening  of  cere- 
of  councils. 

The  melody  is  also  used  with  different  words  as  Wopila  Olowa n, 
a  song  of  thanksgiving.  A  gathering  of  the  people  for  social  festival 
or  ceremonial  dance  is  an  occasion  for  the  giving  of  presents.1  At 
some  time  during  the  dance  or  ceremony  a  herald  announces  that  a 
gift  is  to  be  made,  and  summons  by  name  him  who  is  to  receive  it. 
This  one  goes  forward  and  accepts  his  present,  or,  if  the  present  be 
a  pony  or  other  animal,  he  may  receive  at  the  moment  only  the 
promise  of  the  gift.  He  expresses  his  thanks  with  quiet  solemnity 
and  passes  his  hand  in  blessing  over  the  giver.  Many  may  give 
presents  one  after  the  other  on  the  same  occasion. 

If  blankets  or  robes  are  given  at  a  dance,  it  is  customary  some- 

1  Strangers  or  visitors  from  other  tribes  receive  at  such  times  gifts  of  horses,  money,  food, 
and  clothing.  This  hospitality  is  reciprocated  when  the  visit  is  returned. 

r  59] 


monies  or 


THE  INDIANS'  BOOK 


times  for  parents  to  make  the  gift  through  their  child,  dressed  for 
the  occasion  in  fairest  apparel.  The  parent  spreads  the  gift  upon 
the  ground,  and  the  child,  shod  in  finest  moccasins,  dances  upon  it 
in  consecration  while  appropriate  songs  are  sung..  Sometimes  the 
child  is  a  young  maiden  in  buckskin  dress  ornamented  with  elk- 
teeth,  who  dances  shyly  with  drooping  head  and  downcast  eyes. 
Sometimes  it  is  a  little  lad  in  costume  of  the  olden  time,  with  painted 
face  and  jangling  ornaments.  The  boy  is  led  by  his  father  to  the 
blanket,  and,  in  imitation  of  his  elders,  right  manfully  dances  a 
little  war-dance  to  the  rhythmic  beat  of  the  drum. 

The  recipients  return  thanks  with  song,  and  visitors  from  an¬ 
other  tribe  sing  in  thank-offering  the  songs  of  their  people. 

This  song  is  frequently  sung  on  such  occasions;  it  is  used  in 
many  bands  of  the  Dakotas,  and  has  come  to  be  known  to  other 
tribes  as  well: 


OKICIZE  OLOWAiV 


WAR-SONG 


Kolapila  takuyakapi-lo  ! 
Maka  kin  mitawa  yelo  ! 
Epinaha n  blehemiciye-lo ! 


Comrades,  kinsmen, 

Now  have  ye  spoken  thus. 

The  earth  is  mine, 

'Tis  my  domain. 

'Tis  said,  and  now  anew  I  exert  me ! 


THE  SONGS  OF  THE  DAKOTAS1 

Told  by  Huhuseca-ska  (White  Bone),  Zintkala  Maza  (Iron  Bird),  and  Mato-Nazin 

(Standing-Bear) 

WO  are  the  kinds  of  songs:  songs  made  by  man,  and 
songs  that  come  in  dreams  or  in  visions  through  the 
spirits  from  Wakan-Taftka. 

Of  the  first  kind  there  are  songs  made  by  the  mind 
please  the  ear.  Then  there  are  songs  to  express  feelings, 
and  to  rouse  feelings — songs  to  stir  men  to  brave  deeds,  to  give 


||_T) 

of  man  to 


Dakota  musical  instruments  are  flute,  rattle,  drum,  and  whistle  of  eagle-bone. 

[60] 


DAKOTA 


strength  in  battle,  and  songs  to  make  strong  the  heart  to  meet 
danger,  grief,  and  death. 

War -songs,  victory  -  songs,  songs  sung  in  Omaha  dances — all 
these  are  of  this  first  kind.  So  also  are  the  songs  of  the  different 
societies,  such  as  the  White-Horse  Society,  the  Fox  Society,  and 
many  others.  Love-songs,  gaming-songs,  more  kinds  of  songs  than 
can  be  named  are  made  by  man  for  his  feeling,  and  his  pleasure. 
All  such  songs  may  be  sung  by  any  one. 

Songs  of  the  second  kind  come  from  Wakan -Tanka  and  are 
<wakan — holy,  apart.  No  man  has  the  right  to  sing  such  a  song 
save  him  to  whom  the  song  came  in  dream  or  in  vision.  But  this 
man  may  teach  the  song  to  others  and  give  to  them  the  right  to 
sing  it. 

All  songs  that  are  holy,  that  belong  to  sacred  rites  and  ceremonies, 
that  have  power  to  work  wonders,  that  go  with  healing,  are  of  this 
kind:  for  holy  rites,  wisdom,  and  healing  are  from  Wakan-Tanka. 

Everything  that  has  life  has  spirit  as  well  as  fleshly  form.  All 
things  have  nagt — soul.  Rocks  and  animals  have  the  power  to 
appear  in  the  form  of  man,  and  to  speak  to  man  in  dream  or  in 
vision.1  It  is  from  Wakan-Tanka  that  they  have  power  and 
wisdom.2 

Spirits  come  to  man  in  dreams  and  in  waking  visions.  When 
the  spirit  comes  to  man  in  a  dream,  it  may  be  thus:  a  song  is  heard 
pn  the  air,  then  a  form  appears.  This  form  is  of  a  man,  often  dressed 
or  painted  in  some  particular  or  strange  way.  It  is  a  spirit,  who 
gives  to  the  man  a  message,  a  teaching,  or  a  song.  When  he  turns 
to  go,  he  takes,  in  disappearing,  whatsoever  form  may  be  his  own, 
— if  he  be  animal,  he  will  take  the  form  of  bear,  buffalo,  or  bird — 
whatever  his  nature. 

When  the  spirit  comes  in  waking  vision,  it  may  be  in  this  way: 
A  man  wants  to  gain  some  power,  or  to  learn  some  holy  practice. 
Into  the  wilderness  he  goes  alone,  and  seeks  the  mountain-top. 
There  without  food  or  drink  he  stays,  three  days,  three  nights,  and 
cries  for  power  to  come  to  him,  whether  from  bear  or  snake  or  rock. 

1  Rocks,  or  trees  may  also  appear  in  animal  form. 

2  Thus  the  Indian  learns  from  nature,  from  the  animals,  and  from  elemental  forces,  whose 
power  to  teach  him  is  from  the  Supreme  Being. 

[  61  ] 


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PAWNEE  TITLE-PAGE 

The  design  represents  a  Pawnee  tipi,  and  is  painted  by  a  Pawnee 
girl.  The  tipi  is  decorated  with  symbols  of  the  buffalo,  giver 
of  life)  the  eagle,  Tirawa’s  bird;  the  sun;  the  ceremonial  pipe; 
the  dome  of  heaven;  the  rainbow;  the  moon-mother;  the  morn¬ 
ing  star;  horse  and  corn,  emblems  of  plenty;  the  eagle  and  the 
evening  star. 

The  lettering  is  by  Hinook  Mahiwi  Kilinaka  (Angel  De  Cora). 
From  the  border,  in  the  centre,  hangs  the  star,  an  emblem  of 
Pawnee  religious  thought. 

_ _ _ 


L 


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'Assmast  n 


8i  -«yTcw  •  -  »w'  ■ 

is  ./is  1oli¥fcnJ'sfo  to  alodmys  fttiw  BStBiODsfc  si  qii  i- 'T  -itis 
?sq^..^iflo/n.r!C3  s/lt  xaoz  3rit  %  •'• ;:  •  +° 

-r  om  fit  risHtom-noom  adtc/wodfliin  atli  ;n3vf.sd  Ic.  3/nob 
srit  br.  sls^s  It  sytnolq  to  amaldma  ,"“0:  bns  aaiod  ;  tfiig  ani 

to  maldms  n&  ,jstg  3flt  as.nsri  .sitnso  srli  ni  ,-rabiod  adt  mori 

.tc.uorl:  a»oij'.d»t  sis'/"?.’ r." 


*  I 


THE  PAWNEES 

HE  Pawnees  are  one  of  the  most  famed  tribes  of  the 
West.  Though  they  form  a  group  of  the  Plains  Indians, 
yet  are  the  Pawnees  a  distinct  linguistic  stock,  allied 
to  the  Wichitas,  Caddos,  Arikarees,  Waces,  Keechis,  and 
Tawacumers.  The  name  Pawnee  (Pa'ni)  is  generally  conceded  to 
mean  **  Wolf,”  and  was  probably  given  to  the  Pawnees  because  of 
their  method  of  warfare,  their  skill  as  scouts,  their  custom  of  simu¬ 
lating  wolves  while  on  the  war-path,  and  their  tireless  endurance. 
The  Pawnees,  however,  have  their  own  legend  regarding  the  origin 
of  their  name. 

Until  recent  years  the  home  of  the  Pawnees  was  in  southern 
Nebraska  and  northern  Kansas.  But  it  is  generally  believed  that 
the  tribe  came  originally  from  the  Southwest,  some  say  even  from 
Mexico.  Customs  are  said  to  have  been  found  among  them  closely 
resembling  those  of  the  Aztecs  when  first  discovered  by  the  Span¬ 
iards.  Their  mythology  as  well  as  their  traditions  would  help  to 
bear  out  the  theory  of  their  southern  origin,  for  their  religion  shows 
an  observance  of  the  stars  and  a  reverence  for  the  heavenly  bodies 
which,  to  a  people  of  deep  religious  thought,  would  be  the  natural 
result  of  life  in  a  dry  climate  and  clear  atmosphere.  The  Morning  Star 

NOTE  FOR  PRONUNCIATION  OF  PAWNEE  TEXT 

Unless  otherwise  indicated,  vowels  have  the  Continental  sound  and  consonants 
the  English. 

Ch ,  in  italic,  is  a  guttural,  like  ch  in  German. 

The  Pawnee  songs  are  spelled  according  to  the  pronunciation  of  the  Skidi  band. 
The  Skidi  dialect  differs  from  that  of  the  three  other  bands  in  that  what  is  pro¬ 
nounced  as  an  /  in  the  others  is  pronounced  as  an  r  in  Skidi. 

Acknowledgment  is  made  to  Sakuruta  (Coming  Sun,  James  R.  Murie)  for  his 
help  in  the  gathering  and  in  the  translation  of  these  songs  of  his  people. 

[93] 


THE  INDIANS’  BOOK 


and  the  Evening  Star,  the  Sun  and  the  Moon,  are  deeply  revered  by 
the  Pawnees,  and  the  myths  relating  to  the  two  stars  are  of  peculiar 
beauty*  But  highest  of  a  11,  the  Pawnees  hold  the  Ruler,  Atius 
Tirawa,  the  Father  Above,  him  whom  they  have  always  known 
and  recognized  —  a  being  omniscient,  spiritual,  supreme*  Tirawa 
made  the  Morning  Star  and  the  Evening  Star,  and  he  made  all 
lesser  spiritual  beings  to  carry  out  his  commands.  Say  the 
Pawnees,  **  Of  Tirawa  himself  we  know  only  that  he  made  all 
things,  that  he  is  everywhere  and  in  everything,  and  that  he  is 
almighty.” 

Another  argument  in  favor  of  the  southern  origin  of  this  people 
is  the  fact  that  the  Pawnees  were  perhaps  more  distinctly  agricult¬ 
ural  than  most  of  the  Plains  Indians,  and  possessed  permanent  vil¬ 
lages  like  the  people  of  the  Southwest,  in  addition  to  the  portable 
skin  lodges  common  to  the  prairie  tribes.  Though  in  olden  days 
they  were  skilled  hunters,  and  spent  many  months  each  year  upon 
the  buffalo  chase  to  provide  the  people  with  meat  and  skins,  yet 
their  agricultural  life  was  of  great  importance,  and  they  returned 
regularly  to  their  villages  at  certain  seasons  to  work  in  their  fields. 
Like  almost  all  Indians,  they  have  cultivated  corn  since  earliest 
times,  and  crops  of  beans,  pumpkins,  and  squash  rewarded  their 
toil  as  well. 

The  permanent  dwellings  of  the  Pawnees  were  earth  lodges, 
almost  conical  in  shape,  whose  entrance  was  a  covered  passage. 
The  earth  was  laid  on  a  frame-work  of  poles,  and  the  structure  was 
supported  within  by  stout  posts  ranged  in  a  circle.  The  hearth 
was  in  the  centre  of  the  lodge,  and  the  smoke  passed  out  through 
a  hole  in  the  roof.  The  simple  dwelling  is  full  of  beauty  to  him 
who  knows  its  meaning.  There  is  no  part  of  it  that  is  not  symbolic. 
The  entrance  must  always  face  the  rising  sun,  the  round,  domed 
roof  is  a  symbol  of  the  sky,  and  each  post  represents  a  star  which 
tells  the  Pawnee  of  some  divine  being.  So  whether  within  his  walls 
or  upon  the  open  prairie  the  Pawnee  lived  in  conscious  recognition 
of  the  universe  about  him,  ever  in  the  presence  of  Tirawa,  the 
One  Above, 

The  Pawnees  were  intrepid  warriors,  known  to  their  enemies 

as  strong  and  courageous  fighters.  Yet  they  have  always  been 

[94] 


PAWNEE 


the  friends  of  the  United  States  government,  and  their  loyal  valor 
as  government  scouts  is  widely  known. 

In  1874  the  pressure  of  white  interests  forced  the  Pawnees 
from  their  homes  on  the  Platte  River  to  Oklahoma,  then  known  as 
the  Indian  Territory.  Since  their  removal  the  people  have  suffered 
great  sickness  and  loss.  Scarcely  had  they  time  to  become  adjusted 
to  the  change  of  climate  and  conditions  before  their  new  heme 
was  thrown  open  to  white  settlement.  The  up-springing  of  the 
pioneer  town  and  the  close  proximity  of  the  frontiersman  brought 
to  the  Pawnees  disease,  discouragement,  and  vice.  From  a  tribe 
eight  thousand  strong  they  have  dwindled  to  a  scant  six  hundred. 

Yet  these  Indians  have  splendid  qualities  of  manhood.  They 
are  truly  worthy  of  life,  evolution,  and  development.  They  are, 
as  a  tribe,  brave,  loyal,  self-controlled,  lofty  of  thought,  and  fine 
of  feeling.  May  these  sons  of  our  continent  be  better  known  to  the 
race  that  now  must  dominate  their  lives.  The  warriors  of  yester¬ 
day  must  make  their  hardest  fight  to-day — a  fight  in  the  name 
of  peace  against  degradation  and  extinction.  Better  to  under¬ 
stand  them  will  mean  better  to  help  them  in  their  struggle. 

These  are  their  songs,  sung  and  explained  by  the  Pawnees  them¬ 
selves.  There  are  here  not  enough  of  the  songs  to  give  more  than 
the  merest  glimpse  into  the  Pawnee  mind.  But  even  this  glimpse 
may  help  to  reveal  something  of  that  which  to  the  red  man  is  more 
vital  than  material  possessions — his  inner  world  of  thought  and 
feeling,  an  appreciation  of  which  alone  makes  possible  to  the  white 
man  a  knowledge  of  the  real  Indian. 


THE  INDIANS'  BOOK 


INTRODUCTION  TO  THE  PAWNEE  SONGS 

By  Letakots-Lesa  (Eagle  Chief) 

Letakots-Lesa  is  chief  of  the  Pita-hau-erat  band,  one  of  the  four  divisions  of  the  Pawnees. 
As  part  of  his  ceremonial  dress  he  wears  a  necklace  of  bear-  claws,  for  he  is  one  of  the  Bear  So¬ 
ciety,  a  turban  of  otter-skin,  and  two  eagle-feathers  in  his  hair 

N  the  beginning  of  all  things,  wisdom  and  knowledge 
were  with  the  animals/  for  Tirawa,  the  One  Above,  did 
not  speak  directly  to  man.  He  sent  certain  animals  to 
tell  men  that  he  showed  himself  through  the  beasts, 
from  them,  and  from  the  stars  and  the  sun  and  the 
moon  should  man  learn.  Tirawa  spoke  to  man  through  his  works, 
and  the  Pawnee  understands  the  heavens,  the  beasts,  and  the 
plants.  For  all  things  tell  of  Tirawa. 

When  man  sought  to  know  how  he  should  live,  he  went  into 
solitude  and  cried  until  in  vision  some  animal  brought  wisdom  to 
him.  It  was  Tirawa,  in  truth,  who  sent  his  message  through  the 
animal.  He  never  spoke  to  man  himself,  but  gave  his  command 
to  beast  or  bird,  and  this  one  came  to  some  chosen  man  and  taught 
him  holy  things.  Thus  were  the  sacred  songs  and  ceremonial 
dances  given  the  Pawnees  through  the  animals. 

So  it  was  in  the  beginning. 

In  the  beginning  Tirawa  gave  to  man  the  corn.  The  corn  told 
man  that  she  is  mother — almighty,  like  Tirawa.  If  a  grain  of  corn 
be  split,  within  it  will  be  found  a  juice  like  mother's  milk.  So 
the  corn  is  mother,  because  she  nourishes. 

1  Some  animals  are  spiritual  beings  with  deified  attributes,  each  one  possessing  a  psychic 
quality  peculiar  to  itself.  The  actual  animals  upon  earth  are  the  diminutive  earthly  image 
of  these  divine  ones,  and  are  placed  here  for  the  good  of  man.  The  spiritual  animals  are  often 
symbolic  of  forces  in  nature.  The  Pawnees  say  that  the  Bear— the  divine,  generic  Bear — is 
hard  to  kill,  and  this  not  only  because  of  his  thick  hide  but  because  of  the  psychic  quality  of 
ever-renewing  life  within  him.  The  man  who  has  learned  of  the  Bear,  or  upon  whom  the 
Bear  has  bestowed  power,  has  attained  something  of  the  nature  of  the  Bear;  he  has  become 
like  the  Bear,  hard  to  kill  because  of  the  miraculous  life  force  within  him.  The  Bear  has  his 
power  from  the  Sun,  and  the  Bear  himself  is  oftentimes  the  symbol  of  the  Sun.  The  Sun 
is  recognized  by  man  throughout  the  world  as  the  ever-renewing  life  principle.  This  knowl¬ 
edge  of  the  power  of  the  Bear  is  the  secret  of  the  Bear  Society,  a  secret  never  lightly  told. 

[96] 


yj 

and  that 


PAWNEE 


That  is  whyt  long  ago,  woman  had  all  the  work  of  planting.  We 
might,  indeed,  call  all  women  “  mother.”  Men  might  call  their 
wives  **  mother,”  for  women  grow  the  com  and  cook  for  men ;  they 
nourish  men,  and  give  them  food. 

The  corn  is  mother,  but  the  bow  and  arrow  is  father,  for  the 
father  always  protects.  So  man  must  wield  the  bow  and  arrow. 
Thus  it  was  long  ago. 

The  Pawnees  hold  the  Bear  in  reverence.  He  has  wonderful 
power.  A  chosen  man  once  saw  the  Bear.  The  Bear  came  to 
him  and  revealed  to  him  a  dance,  and  gave  him  all  the  Bear  Songs. 
The  Bear  had  been  commanded  of  Tirawa  thus  to  instruct  the  man, 
and  to  tell  him  that  Tirawa  had  said  that  certain  beasts  would  give 
man  wisdom  and  power. 

But  the  animal  supreme  for  the  Pawnees  is  the  Otter.  His  is 
a  message  of  wisdom,  for  of  all  beasts  the  Otter  is  the  wisest.  No 
other  people  than  the  Pawnees  has  deeper  knowledge  of  medicines, 
roots,  and  herbs,  and  of  all  that  lives  upon  the  earth,  in  the  air,  and 
under  the  ground. 

The  Eagle  is  Tirawa's  bird.  Of  all  birds  Tirawa  loves  this  one 
the  most.  For  the  Eagle  has  two  eggs,  and  only  two,  and  this 
tells  the  story.  All  things  in  the  world  are  two — man  and  woman. 
This  is  true  whether  of  men,  of  animals,  of  trees,  of  flowers.  All 
things  have  children  of  two  kinds  in  order  that  life  may  be.  Look 
well  upon  the  eagle-feathers  worn  by  Letakots-Lesa:  the  one  on 
the  right  side  is  tall  and  fair  and  decorated  with  a  tuft.  This  is 
man.  The  one  on  the  left  is  short  and  unadorned.  This  is  woman. 
So  do  the  feathers  tell  the  story — man  and  woman.1 

All  things  in  the  world  are  two.  Man  himself  is  two  in  every¬ 
thing.  Two  eyes,  two  ears,  two  nostrils,  two  hands,  two  feet — one 
for  man  and  one  for  woman.2  Stand  in  the  sunshine  and  behold 
how  man  is  two  —  substance  and  shadow,  body  and  spirit.  Even 

1  The  feathers  are  in  accordance  with  the  law  of  nature  that  makes  the  male  creature, 
whether  bird  or  animal,  to  be  the  larger,  the  stronger,  and  the  more  beautiful. 

2  The  idea  evidently  is  that  the  human  form  is  in  itself  symbolic  of  all  created  life,  in 
that  it  is  two  in  everything,  typifying  the  male  and  female  principles.  Indeed,  it  would 
seem  that  to  the  Pawnees  the  right  side  typifies  man,  the  left  side  woman.  See  the  above 
description  of  the  wearing  of  the  eagle-feathers.  Also  compare  Tawi’-Kuruks,  Song  of  the 
Bear  Society,  page  107,  where  the  warrior  wears  the  Father-Hawk  on  the  right  side  and  the 
Mother-Corn  on  the  left. 


[97] 


THE  INDIANS'  BOOK 


so  there  are  son  and  moon,  and  in  moonlight  as  in  sunlight  man  is 
two,  always  two. 

All  things  in  the  world  are  two,  the  Eagle's  eggs  tell  us  this  story. 
But  behold,  the  Eagle's  feather  tells  the  story  also,  for  the  feather 
in  itself  is  two — half  dark,  half  light.  So  we  see  upon  it  daylight 
and  darkness,  summer  and  winter.  The  white  tells  of  the  summer 
when  the  earth  is  fair,  the  dark  of  the  winter  when  the  skies  are 
gloomy.  Even  in  a  single  day  we  may  see  weather  that  is  two — 
cloud  and  sunshine. 

All  things  in  the  world  are  two.  In  our  minds  we  are  two — 
good  and  evil.  With  our  eyes  we  see  two  things— things  that  are 
fair  and  things  that  are  ugly.  Through  our  nostrils  we  smell  two 
things — things  that  are  good,  things  that  are  bad.  With  our  ears 
we  hear  two  things — things  that  fill  us  with  joy,  things  that  fill 
us  with  sorrow.  We  have  the  right  hand  that  strikes  and  makes 
for  evil,  and  the  left  hand  full  of  kindness,  near  the  heart.  One 
foot  may  lead  us  to  an  evil  way,  the  other  foot  may  lead  us  to  a 
good.  So  are  all  things  two,  all  two. 

This  is  the  Eagle's  story,  known  to  the  fathers  of  Eagle  Chief, 
and  handed  down  from  son  to  son.  Thus  did  the  Pawnees  learn 
of  the  wisest  bird,  and  thus  did  they  learn  of  the  Otter  and  of  the 
Bear.  Even  so  came  the  messages  of  Tirawa  to  man. 

All  this  will  make  clear  the  songs,  and  will  tell  why  Letakots- 
Lesa  wears  the  necklace  of  bear-claws,  the  turban  of  otter-skin, 
and  two  eagle-feathers  in  his  hair. 

Letakots-Lesa  (Eagle  Chief)  owns  a  modern  frame  house,  cattle,  and  horses. 
He  is  thrifty  and  well  to  do.  Upon  the  side  of  his  American  house,  at  the  top, 
beneath  the  gable,  is  painted  a  white  star  on  a  blue  ground.  Thus  he  explained  the 
decoration  : 

**  Once  I  saw  in  a  trance  the  white  star — the  Evening  Star.  It  told  me  that  it 
stood  there  to  watch  over  the  people  and  give  them  plenty.  I  took  the  star  for 
my  emblem,  and  painted  it  on  my  house,  and  branded  all  my  animals  with  it.” 

To  infuse  into  the  new  life  of  labor  something  of  the  old  Indian  poetry  is  an 
ideal  for  the  future  Indian  working  -  man,  unconsciously  set  before  him  by  the 
thoughtful  chief  of  the  Pita-hau-erat. 


Letakots-Lesa  (Eagle  Chief) 


PAWNEE 


THE  MORNING  STAR  AND  THE  EVENING  STAR 

Told  by  Sak«ruta  (Coming  Sun) 

Sakurtita  is  a  Pawnee  of  the  Skidi  band,  and  belongs  to  the  Morning-Star  Clan.  He  is  one 
of  the  four  Kurahus  (priests)  who  own  the  right  to  tell  this  story.  Also  he  is  one  of  the  heirs  to 
the  Morning-Star  Bundle. 

Indian  thought  finds  sublime  expression  in  this  myth,  and  in  the  Introduction  to  the  Pawnee 
Songs,  by  Eagle  Chief.  Over  all  is  the  supreme,  impersonal  Being,  Tirawa,  the  infinite  Creator. 
After  Tirawa,  the  Pawnee  sees  duality  in  all  life.  The  very  universe  is  divided  into  two  great 
elements,  male  and  female,  finding  their  natural  counterpart  in  day  and  night.  Humanity  is 
not  the  direct  child  of  Tirawa,  but  the  offspring  of  dual  elements  in  the  cosmic  world.  It  is  not 
the  part  of  the  recorder  to  point  out  beauties  in  song  and  story.  When  questioned  deeply  as  to 
the  meaning  of  a  myth,  the  Indian  sometimes  replies,  “  That  is  for  each  to  think  out  for  himself.” 


VER  all  is  Tirawa,  the  One  Above,  changeless  and  su¬ 
preme.  From  Tirawa  come  all  things:  Tirawa  made  the 
heavens  and  the  stars. 

The  Pathway  of  Departed  Spirits1  parts  the  heavens. 
In  the  beginning,  east  of  the  path  was  Man:  west  of  the  path  was 
Woman.2  In  the  east  was  creation  planned:  in  the  west  was  crea¬ 
tion  fulfilled.3  All  that  the  stars4 5  did  in  the  heavens  foretold  what 
would  befall  upon  the  earth,  for  as  yet  was  the  earth  not  made. 

In  the  west  dwelt  the  White  Star  Woman,  the  Evening  Star, 
who  must  be  sought  and  overcome  that  creation  might  be  achieved. 
From  the  east  went  forth  the  Great  Star,  the  Morning  Star,  to  find 
and  overcome  the  Evening  Star,  that  creation  might  be  achieved. 
The  Morning  Star  called  to  his  younger  brother:5  44  Take  the  Sacred 
Bundle,6  bear  it  over  thy  shoulder  and  follow.”  And  the  Morning 

1  The  Milky  Way  is  called  by  the  Pawnees  “  The  Pathway  of  Departed  Spirits,”  because  after 
death  the  spirit  passes  on  this  pathway  to  the  Southern  Star,  the  abiding  place  of  the  dead. 
A  star  that  stands  in  the  north  first  receives  the  spirit  and  sends  it  onward  to  the  Southern  Star. 
This  is  the  sacred  belief,  known  to  the  priests,  but  the  common  people  say  that  the  Milky  Way 
is  the  dust  of  the  Buffalo  (the  Spirit-Buffalo).  The  Southern  Star  is  not  always  seen.  At  a 
certain  time  in  summer,  just  at  dusk,  it  rises  like  fire  for  a  moment,  and  then  disappears.  When 
the  star  rises  thus,  it  means  that  a  great  man  will  die. 

2  Man,  meaning  the  male  principles  woman,  meaning  the  female  principle. 

3  Even  as  the  creative  impulse  is  in  man,  and  the  power  of  fruition  in  woman. 

4  The  stars  are  divine  beings. 

5  A  small  star  just  above  the  horizon. 

6  The  Sacred  Bundles  contain  certain  symbols  of  cosmic  forces,  or  symbols  representing  the 
psychological  or  elemental  attributes  of  the  divinity  to  whom  they  are  consecrated.  The  Pawnees 
say  that  these  Bundles  came  from  Tirawa.  Different  clans  among  the  Pawnees  keep  different 
Bundles.  The  Morning-Star  Bundle  is  kept  by  the  Morning-Star  Clan.  See  page  107. 

[99] 


7 


THE  INDIANS'  BOOK 


Star  journeyed  to  the  west*  And  ever  as  he  journeyed,  the  Evening 
Star  moved,  came,  and  drew  him  towards  her.  (For  men  may  see 
how  the  Evening  Star  moves  nightly.  One  night  she  is  low  in  the 
heavens,  another  night  she  is  high  in  the  heavens.  Even  so  she 
moved  and  drew  the  Morning  Star.)  Yet  when  the  Evening  Star  be¬ 
held  the  Morning  Star  draw  near,  she  placed  in  his  path  Hard  Things 
to  hinder  his  approach.  Thus,  even  as  the  Morning  Star  first  saw 
the  Evening  Star,  she  rose  and  looked  on  him  and  beckoned  him.  He 
started  towards  her,  but  the  earth  opened  and  waters  swept  down, 
and  in  the  waters  was  a  serpent  with  mouth  wide  opened  to  devour. 

The  Morning  Star  sang,1  and  drew  from  his  pouch  a  ball  of  fire2 
and  threw  it  at  the  serpent;  and  straightway  the  monster  van¬ 
ished,  the  waters  dried,  the  ground  was  level,  and  the  Morning  Star 
passed  on. 

Even  so,  each  time  the  Evening  Star  placed  in  the  path  of  the 
Morning  Star  Hard  Things  to  hinder  his  approach,  the  Morning 
Star  sang,  and  drew  from  his  pouch  a  ball  of  fire  and  threw  it  at 
the  hinderance;  and  straightway  the  hinderance  vanished  and  the 
Morning  Star  passed  on.  After  each  triumph  he  spoke,  saying,  **  I 
have  overcome  my  Grandfather/'  or,  “  I  have  overcome  my  Grand¬ 
mother,"  and  again,  **  I  have  overcome  my  Father,"  **  I  have  over¬ 
come  my  Mother,"  and  again,  **  I  have  overcome  my  Brother," 
**  I  have  overcome  my  Sister." 

Ten  were  the  hinderances,  and  ten  times  spake  he  thus,  each  time 
naming  a  kinship,  in  prophecy  of  kinships  on  the  earth:  for  of  human 
kinships  is  the  number  ten/  Cactus,  thorns,  and  thick  woods, 
monsters,  and  evil  animals — of  such  forms  were  the  hinderances;4 
so  were  they  the  prophecy  of  what  should  be  Hard  Things  for  man 
upon  the  earth. 

1  In  olden  times  a  maiden  was  ceremonially  slain  in  sacrifice  to  the  Morning  Star.  This  song 
sung  by  the  Morning  Star  was  the  prophecy  of  the  song  that  the  people  should  sing  when  they 
captured  the  maiden  for  the  sacrifice.  Also  the  song  was  to  be  sung  by  Pawnee  warriors  of  the 
Morning-Star  Gan  before  setting  out  on  the  war-path. 

3  In  another  version  the  younger  brother  each  time  draws  a  war-club  from  the  Sacred  Bundle 
and  gives  it  to  the  Morning  Star. 

3  The  Pawnees  say  that  even  so  have  the  Pawnee  songs  ten  steps.  A  stanza  is  perhaps  the 

•*  nearest  English  equivalent  to  what  the  Pawnee  calls  a  “  step.”  The  idea  would  seem  to  be 

that  the  stanzas  of  the  song  are  as  kinsmen  in  a  family,  or  that  they  typify,  by  their  number,, 
the  human  relationships.  Of  course  the  songs  alluded  to  are  sacred,  ritualistic  songs. 

4  The  hinderances  were  also  symbolic  of  dangers  and  of  forces  cf  nature. 

[  100] 


PAWNEE 


So  passed  the  Morning  Star  in  victory,  and  journeyed  westward 
ever,  and  reached  the  lodge  of  the  Evening  Star. 

To  the  Evening  Star  had  Tirawa  given  the  Powers  of  the  West. 
Also  had  he  placed,  to  guard  her,  four  beasts — Black  Bear,  Mountain 
Lion,  Wild-Cat,  and  Wolf.  These  Beasts,  placed  by  Tirawa  in  the 
heavens,  were  stars — Black  Star,  Yellow  Star,  White  Star,  Red  Star. 
They  were  beings  who  should  send  to  earth  beasts  like  themselves. 
They  were  the  prophecy  of  animals  to  be  upon  the  earth.  Also 
were  they  Autumn,  Spring,  Winter,  Summer;  thunder,  lightning, 
clouds,  winds;  and  they  betokened  four  kinds  of  wood  to  be  upon 
the  earth — cottonwood,  elm,  willow,  box-elder;  and  four  kinds  of 
com — black,  yellow,  white,  red.  Great  was  the  power  of  the  four 
beasts:  great  was  their  power  to  guard  the  Evening  Star;  yet  were 
they  vanquished  by  the  Morning  Star. 

And  the  Morning  Star  spoke  and  said,  “  I  have  conquered,  and 
ye  shall  obey  my  command.  Thou,  Black  Star,  shalt  stand  in  the 
northeast,  whence  cometh  night.  Thou  art  Autumn.  Thou,  Yellow 
Star,  shalt  stand  in  the  northwest,  where  is  the  golden  setting  of  the 
sun.  Thou  art  Spring.  Thou,  White  Star,  shalt  stand  in  the  south, 
facing  north,  whence  cometh  the  snow.  Thou  art  Winter.  Thou, 
Red  Star,  shalt  stand  in  the  southeast.  Thou  art  Summer.”1 

Now  are  the  four  stars  known  as  the  four  World-Quarter  Gods. 
At  the  four  world-points  they  stand  to  hold  up  the  heavens,  and  they 
obey  the  Morning  Star. 

Then  the  Morning  Star  approached  the  Evening  Star  to  over¬ 
come  her.  Yet  might  the  Evening  Star  not  yield  until  the  Morning 
Star  should  bring  to  her  the  cradle-board  for  the  child  that  was  to 
be  bom.2  The  board  should  be  of  the  cottonwood;  the  covering,  a 
speckled  wild-cat-skin,  emblem  of  the  starry  heavens.  With  strips 
of  otter-skin  should  the  child  be  bound  upon  the  board;  for  the  otter 
lives  in  the  water,  and  betokens  the  rain-storms. 

1  The  Pawnees  say  that  the  Yellow  Star  faces  to  the  south,  and  the  White  Star  faces  to  the 
north,  and  the  Yellow  Star  and  the  White  Star  change  places.  For  the  Yellow  Star  stands  to 
the  north  in  winter,  and  the  White  Star  stands  to  the  north  in  summer.  Thus  the  stars  of 
the  west  change  places,  even  as  the  change  of  seasons  comes  in  the  west.  The  east  is  plan; 
the  west  is  fulfilment,  movement,  achievement. 

2  Among  the  Pawnees  the  husband  brings  to  his  wife  the  cradle-board.  This  is  ceremonially 
cut  from  a  tree  by  the  husband's  kinsmen,  and  decorated  with  symbolic  emblems.  See  illus¬ 
tration,  Pawnee  cradle-board. 


[101] 


THE  INDIANS’  BOOK 


Above  the  board,  over  the  head  of  the  child,  should  be  stretched 
a  hoop,  cut  from  the  willow -tree.  This  too  betokens  the  rain¬ 
storm,  also  the  Arch-Above-the-Earth — the  Rainbow. 

The  Morning  Star  went  forth  to  seek  the  cradle-board.1  The 
Star  Beasts  helped  him,2  and  the  Morning  Star  found,  and  won,  and 
brought  the  cradle-board  to  the  Evening  Star.  But  still,  ere  she 
yielded,  the  Evening  Star  bade  the  Morning  Star  seek  and  bring  to 
her  a  mat  for  the  child  to  lie  upon.  And  the  Morning  Star  went 
to  the  south  and  killed  a  buffalo,  and  brought  the  softest  part  of 
the  hide  to  be  a  mat  for  the  child  to  lie  upon. 

Then  said  the  Evening  Star,  “  Yet  must  thou  seek  and  bring  to 
me  water  wherewith  to  bathe  the  child/’  And  the  Morning  Star 
sought  and  won  and  brought  to  the  Evening  Star  water  wherewith 
to  bathe  the  child.3  The  water  was  sweet  and  fragrant,  for  it  came 
from  a  spring  around  which  grew  sweet-smelling  grasses.  The  water 
was  the  rain,  and  it  was  part  of  the  garden  of  the  Evening  Star — 
her  garden,  ever  growing  and  ever  green.  This  water,  brought  by 
the  Morning  Star  to  the  Evening  Star,  was  that  rain  which  from 
henceforth  should  go  to  the  people  of  the  earth. 

Now  could  the  Morning  Star  approach  the  Evening  Star  and 
overcome  her.  And  when  the  Morning  Star  overcame  the  Evening 
Star,  he  gave  to  her  all  that  he  had.  And  when  the  Evening  Star 

1  There  is  a  detailed  legend  of  how  the  Morning  Star  won  the  cradle-board,  which  hung  with 
many  other  cradle -boards  upon  posts  within  a  lodge  in  the  heavens.  These  cradle-boards  were 
decorated  with  emblematic  designs,  which  the  people  of  earth  now  use  to  decorate  their  cradle- 
boards,  Thus  the  Pawnees  say  that  their  designs  came  from  the  stars. 

2  Probably  a  prophecy  of  how  on  earth  the  kinsmen  of  the  husband  should  procure  the  cradle- 
board. 

3  There  is  also  a  detailed  legend  of  how  the  Morning  Star  got  the  water  through  the  help  of 
a  woman.  The  Evening  Star  herself  controlled  the  waters.  But  the  woman  knew  how  to 
find  the  water  for  the  Morning  Star.  As  she  started  forth  she  said  to  her  children,  “  Sing,  for 
I  go  to  fetch  water  for  the  Morning  Star.”  And  the  children  helped  her  through  their  singing. 
The  woman  came  to  a  hollow  around  which  grew  sweet  grasses,  and  within  the  hollow  was  the 
spring.  She  thrust  a  stick  into  the  hollow,  and  water  gushed  forth;  and  she  caught  the  water 
in  a  sack  made  from  the  covering  of  the  buffalo’s  heart,  and  gave  it  to  the  Morning  Star. 

The  woman  is  probably  emblematic  of  the  midwife.  “  And  so  to-day,”  say  the  Pawnees, 
“  when  a  child  is  born,  the  midwife  takes  a  wooden  bowl  and  goes  to  a  running  stream  and 
fetches  water  to  bathe  the  child.” 

The  incident  of  the  singing  of  the  children  draws  attention  to  the  Indians’  belief  in  the  power 
of  thought  directed  by  one  person  or  group  of  persons  towards  another.  The  thought,  will¬ 
power,  or  prayer  sent  put  for  another  is  often  uttered  in  song.  The  absence  of  the  one  to  whom 
the  thought  is  directed  does  not  interfere  with  the  helpful  power  of  the  thought.  See  Indian 
Story  and  Song,  by  Alice  C.  Fletcher,  page  81.  Also  compare  Gomda  Daakia,  page  223,  and 
Tuari’s  song,  page  463. 


[102] 


ADLE-BOARD  FOR  THE  MORNING  STAR  CLAN 

nted  by  Pawnee  Women.  Upon  this  cradle -board  have 
bound  the  children  of  Sakuruta  and  his  wife.  Above  the 
ad  of  the  child,  at  the  top  of  the  board,  are  painted  the  mom- 
star,  flint  arrow-heads,  and  the  rainbow.  This  design  tells 
that  the  child  is  under  the  protection  of  the  morning  star  and 
is  watched  over  by  the  Powers  of  the  West,  because  of  the 
rainbow.  On  each  side  of  the  drawing  of  the  cradle-board  is 
a  bead-work  design,  painted  by  Pawnee  women. 


' 

to  seek  the.  cradle-hoard.1 


■ 


7~ _ — - ^ . —  _ -  ..._ _ _ 12^'v-  Star 


- 

..  il  5  *  -  c. 


rc  hich  hang  vr-'h 
t  i>  co:‘  vte  ;  e>r  cradle- 


* 


aicb  Vrew  /set  gras 


And  so  O-Av  p.  ees, 


PAWNEE 


yielded  to  the  Morning  Star,  she  gave  to  him  all  that  she  had:  each 
gave  unto  the  other  of  their  Power  for  the  sake  of  the  people;  for  all 
that  they  gave  should  henceforth  go  to  men  upon  the  earth*  The 
Power  of  the  Morning  Star  is  in  the  bed  of  flint  on  which  he  stands. 
And  the  Morning  Star  gave  to  the  Evening  Star  his  Power.  To  the 
Evening  Star  belong  the  Powers  of  the  West:  the  Power  of  the  Storms 
is  hers.  But  into  the  Storms  the  Morning  Star  put  his  Power  of 
Flint,  and  placed  it  in  the  clouds  to  strike  as  lightning  from  the  rain¬ 
storms.  This  Power  of  Flint  from  the  Morning  Star  would  give 
knives,  axes,  and  weapons  to  the  people  of  the  earth.1 

Now  when  the  Morning  Star  had  overcome  the  Evening  Star,  he 
received  from  her  a  pebble,  and  he  let  fall  the  pebble  into  great 
waters.  After  a  long  time  (so  tell  the  songs)  the  pebble  became  the 
earth.  Then  the  Morning  Star  threw  into  the  air  his  ball  of  fire, 
and  said,  u  Stand  there,  and  give  light  to  the  earth!”  And  the  ball 
of  fire  became  the  Sun.  The  Power  of  the  Sun  is  from  the  Morn¬ 
ing  Star. 

Now  when  the  pebble  under  the  waters  had  become  the  earth, 
the  four  World-Quarter  Gods  struck  downward,  with  closed  hands, 
and  on  each  side  of  the  waters  the  earth  rose  up.  (Thus  in  the 
Bundle  of  each  World-Quarter  God  is  a  war-club  to  mean  the  down¬ 
ward  stroke  that  made  the  earth  to  rise  up  on  each  side  of  the  waters.) 

The  Evening  Star  bore  a  daughter.  And  she  placed  the  little 
maiden  on  a  cloud  to  send  her  to  the  earth.  Now  in  the  garden 
of  the  Evening  Star  were  seeds  of  all  kinds  that  should  go  to  the 
people  of  earth.  Here  grew  the  Mother-Corn.2  And  the  Evening 

1  The  Morning  Star  typifies  the  masculine  principle.  The  part  of  man  in  ancient  times  was 
to  hunt  the  game  that  was  his  food,  to  protect  himself  from  beast  or  foe,  and  to  fight  his  enemies. 
Man's  power  was  in  the  strength  and  skill  of  his  weaponed  arm.  All  sharp  weapons  were  of 
flint.  It  is  natural,  therefore,  that  the  power  of  the  Morning  Star  should  be  the  Power  of  Flint. 
In  ancient  times  arrow-heads  were  of  flint.  Flint  generates  fire.  With  many  tribes  it  is  con¬ 
nected  with  lightning,  and  the  flint-tipped  arrows  of  the  Indian  correspond  to  the  lightning 
arrows  shot  to  earth  by  higher  powers.  In  Navajo  mythology  the  war-god,  Nayenezrani,  is 
clad  all  in  flint,  and  from  the  joints  of  his  flint  armor  flash  the  four  lightnings,  hurling  his  enemies 
down  into  the  earth  (see  pages  351,  362),  Pueblo  Indian  designs  also  show  the  zigzag  light¬ 
ning,  tipped  with  arrow-heads.  It  is  of  interest  to  note  that  the  Power  of  the  Morning  Star  is 
the  fire-impelling  stone.  (Compare  Pima  creation  myth,  page  315.) 

The  Evening  Star  typifies  the  female  principle.  Rain  makes  the  earth  to  bring  forth,  and  so 
this  fructifying  element  is  part  of  the  Power  of  the  Evening  Star. 

2  The  Mother-Corn  is  a  small  and  very  beautiful  corn-ear,  symbolic  of  fruitfulness  and  of  the 
female  principle. 


[  103] 


THE  INDIANS'  BOOK 


Star  gave  to  the  maiden  the  Mother-Corn  and  said,  “  Plant  this  upon 
the  earth!”  Then  she  sent  her  daughter  downward. 

The  maiden  dropped  from  the  cloud  upon  the  earth  like  rain,  and 
to  this  day  the  name  for  maiden  in  the  Pawnee  tongue  is  “  Standing 
Rain.”  The  little  maiden  knew  not  where  she  was.  She  turned  her 
ear  this  way  and  that,  listening,  till  at  last  there  came  towards  her 
a  boy,  child  of  the  Sun  and  the  Moon,  even  as  was  the  maiden  child 
of  the  Morning  Star  and  the  Evening  Star.  From  the  union  of  these 
two  sprang  the  people  of  the  earth. 

To  the  Stars  did  Tirawa  give  power  to  watch  over  the  people. 
If  the  people  were  evil,  the  Stars  might  send  storms  to  destroy 
them.  But  Tirawa  himself  is  ever  without  anger.  He  is  feared  by 
none.  Tirawa  is  changeless. 


TAW  KURUKS 

Song  of  the  Bear  Society 1 
Sung  and  told  by  Letakots-Lesa  (Eagle  Chief) 

HE  men  of  the  Bear  Society  are  called  Bear  Warriors. 
The  Bear,  the  great  Spirit-Bear,  receives  his  power  from 
the  sun,  and  so  it  was  through  the  sun  that  the  Bear 
Warriors  had  been  victorious.  In  this  song  they  are 
returning  from  war  just  as  the  sun  rises.  The  women  go  forth 
with  song  to  meet  the  victors,  who  are  coming  all  splendidly  decked 
and  painted.  One  of  the  women,  seeing  the  warriors  thus  beautiful 
in  their  triumph,  cries : 

**  If  Atius  Tirawa,  the  Father  Above,  had  but  made  me  man, 
I  too  might  be  like  these!  But  alas!  women  may  never  achieve 
greatness.  They  must  remain  ever  in  the  same  station.  Great 
deeds  are  not  for  them.  But  had  I  been  a  man,  I  rpight  have  done 
even  what  these  have  done !” 

The  rays  of  the  rising  sun  now  touch  the  earth  and  speed  swiftly 
over  the  ground  until  they  shine  upon  the  victors.  The  hidden 
meaning  of  the  song  is  the  victorious  power  of  the  sun. 


See  “Organizations  of  the  Plains  Indians,”  page  31. 
[  104] 


. 


A  Daughter  of  the  Prairie 


PAWNEE 


In  the  first  stanza,  the  **  many  coming  ”  are  the  warriors:  in 
the  second,  the  sunbeams.  This  is  a  very  old  song,  and  is  sung 
in  ceremonies  of  the  Bear  Society  just  as  the  sun  is  about  to  rise. 


TAWI’  .  KURUKS 

SONG  OF  THE  BEAR  SOCIETY 
(Literal  translation) 

Rerawha-a 

Rerawha-a 

Rerawha-a  rera  e 

Yo! 

Yonder  coming. 

Yonder  coming, 

Lo,  the  many  yonder,  he — 

Yo! 

Para  riku  ratutah 

Rerawha-a  rera  e 

Yo! 

Mine,  too,  might  have  been  a  triumph 
Like  the  many  yonder,  he — 

Yo! 

Hi  tzapat  rakuwaka  kuatutah 
Iriritah 

Rerawha-a 

Rerawha-a 

Rerawha-a  rera  e 

Yo! 

Cried  the  woman, 

Would  that  I  were  like  to  these, 

The  many  coming, 

Yonder  coming. 

Yonder  coming, 

Lo,  the  many  yonder,  he — 

Yo! 

Para  riku  ratutah 

Rerawha-a  rera  e 

Yo! 

Mine,  too,  might  have  been  a  triumph 

Like  the  many  yonder,  he — 

Yo! 

Rasakura  rukuksa  rerawha-a 
Rerawha-a 

Rerawha-a 

Rerawha-a 

Rerawha-a  rera  e 

Yo! 

Now  the  rising  sun  hath  sent  his  rays 
to  earth, 

A  many  coming. 

Yonder  coming. 

Yonder  coming, 

Lo,  the  many  yonder,  he — 

Yo! 

Rasakura  rura  whia 

Rerawha-a  rera  e 

Yo! 

Sunbeams  o'er  the  ground  are  speeding, 

Lo.  the  many  yonder,  he — 

Yo! 

THE  INDIANS’  BOOK 


SONG  OF  THE  BEAR  SOCIETY 

(Free  metrical  translation — the  hidden  meaning  revealed) 

They  are  coming. 

They  are  coming 
Lo,  the  victor  hosts,  ya  he — 

Yo! 

Forth  to  meet  them  go  the  women 
With  the  rising  son,  ya  he — 

Yo! 


Cries  a  maid, 

Had  but  the  Father  made  me  man. 

Oh  then  might  I  have  been  like  these 
Who  now  are  coming. 

With  the  rising  sun,  ya  he — 

Yo! 

Like  to  these  who  now  are  coming 
With  the  rising  sun,  ya  he — 

Yo! 

Now  the  sun 

Hath  sent  to  earth  his  hosts  of  sunbeams 
Swiftly  speeding 
Who  are  coming. 

Who  are  coming 
With  the  rising  sun,  ya  he — • 

Yo! 

Radiant  now  the  warriors’  triumph 
In  the  rising  sun,  ya  he — 

Yo! 


PAWNEE 


•  TAWF  KURUKS 

Song  of  the  Bear  Society 
Sung  and  told  by  Sakuruta  (Coming  Sun) 

HE  Sacred  Bundles  are  bundles  containing  holy  symbols* 
These  bundles  came  to  the  Pawnees  long  ago  through 
the  power  of  Tirawa. 

Once  a  warrior  of  the  Bear  Society  borrowed  from 
a  Sacred  Bundle  the  Mother-Corn1  and  the  Father-Hawk*  and  wore 
them  upon  his  back  forth  to  war — the  Father-Hawk  on  the  right 
side  where  is  the  power  to  smite*  for  the  Father-Hawk  strikes  with 
his  wing  and  kills  his  prey;  the  Mother-Corn  on  the  left  side*  near 
the  heart*  where  is  kindness,  for  the  Mother-Corn  harms  no  thing, 
but  protects  only, 

Mother-Corn  and  Father-Hawk  brought  victory  to  the  warrior, 
for  Tirawa  watched  over  the  man  because  he  wore  these  holy  things, 
and*  because  of  the  bundle*  Tirawa  sent  storms  of  wind  and  rain 
to  protect  him  from  his  enemies.  For  this  Sacred  Bundle  was 
known  as  the  Rains-Enfolded*  and  when  it  was  opened  at  the  time 
of  the  first  thunder*  and  certain  songs  were  sung*  the  clouds  opened 
and  the  rains  fell. 

So*  because  of  his  triumph  the  warrior  made  this  song*  that 
when  he  came  with  the  sacred  symbols  upon  his  back  the  people 
might  sing,  “  Yonder  come  the  Mother-Corn  and  the  Father-Hawk,” 
for  it  was  through  these*  and  through  the  power  of  Tirawa*  that 
the  man  had  been  victorious.  No  man  may  succeed  except  it  be 
through  Tirawa's  aid. 

The  warrior  was  afterwards  made  the  leader  of  the  Bear  So¬ 
ciety*  and  this  his  song  may  be  sung  in  ceremony  by  night  or  day : 

1  The  Mother-Corn  and  the  Father-Hawk  are  sacred  symbols,  representing  the  female 
principle  and  the  male  principle.  They  also  stand  for  the  Evening  Star  and  the  Morning  Star. 
The  one  is  an  ear  of  corn  symbolically  decorated  and  painted,  the  other  is  a  stuffed  hawk. 
A  full  description  of  the  Mother-Corn  is  given  in  The  Hako,  a  Pawnee  Ceremony ,  by  Miss  Alice 
C.  Fletcher,  published  by  the  Bureau  of  American  Ethnology,  1904. 

[107] 


THE  INDIANS'  BOOK 


TAWr  KURUKS  SONG  OF  THE  BEAR  SOCIETY 

Nawa  Atira, 

Nawa  Atira, 

Nawa  Atira, 

Ha  we-ra 
Nawa  Atira, 

He  yo  ! 

Nawa  Atius, 

Nawa  Atius, 

Nawa  Atius, 

Ha  we-ra 
Nawa  Atius, 

He  yo  ! 

(Translation  with  full  meaning  revealed) 

Hither  the  Mother-Corn — 

Greet  we  the  Mother-Corn — 

Thanks  to  the  Mother-Corn — 

Now  she  cometh, 

Hither  the  Mother-Corn  ! 

He  yo  ! 

Hither  the  Father-Hawk — 

Greet  we  the  Father-Hawk — 

Thanks  to  the  Father-Hawk — 

Now  he  cometh. 

Hither  the  Father-Hawk  l 
He  yo  ! 


(Literal  translation) 

Hither  the  Mother — 
Hither  the  Mother — 
Hither  the  Mother — 
Now  she  cometh. 
Hither  the  Mother  ! 

He  yo ! 


Hither  the  Father — 
Hither  the  Father — 
Hither  the  Father — 
Now  he  cometh, 
Hither  the  Father  ! 

He  yo  ! 


The  Wife  of  Young  Chief 


PAWNEE 


IRUSKA 

Songs  of  the  u  Ir«ska  *'■ — warriors  who  have  won  war  honors1 

I 

Song  and  told  by  Lesa-Kipiliru  (Yoong  Chief) 

CERTAIN  man  had  a  loved  son.  This  son  had  a  fine 
spotted  horse  of  which  he  thought  highly.  The  son 
died  and  the  father  cherished  the  horse.  Of  all  his  many 
horses  he  loved  the  spotted  horse  the  most.  Then  the 
father,  too,  died,  and  the  horse  went  from  one  person  to  another. 
But  of  the  many  masters,  none  gave  it  the  love  of  the  owners  of 
old.  So  was  it,  in  very  truth,  an  orphaned  steed. 

Once  while  Young  Chief  lay  sleeping,  he  heard  in  dream  as 
from  afar  some  one  singing.  He  could  not  see  the  singer,  but 
the  song  was  plain  upon  the  air.  Then,  still  dreaming,  he  saw  four 
men  seated  about  a  drum.  Beside  them  stood  the  old  man  who 
had  died,  dressed  even  as  in  life,  around  him  his  blanket  and  on 
his  head  a  wide  hat  decked  with  a  feather  from  the  eagle's  breast. 
Then  the  men  struck  the  drum  and  broke  into  the  song  which 
had  come  from  the  unknown  voice  upon  the  air. 

Young  Chief  awoke  and  sang  aloud  the  song.  His  wife  heard 
him,  and  she,  too,  caught  up  the  song  and  learned  it.  For  hours 
after  waking  it  seemed  to  Young  Chief  as  though  the  song  still 
hovered  in  the  air  around  him. 

The  song  became  a  favorite  among  the  people  and  was  used  in 
the  Iruska  dances. 


IRUSKA 

Narutitawe — he-re  ! 
Narutitawe — he-re  1 
Narutitawe — he-re  ! 
Atius  tiwaku, 
Asawaki  ratawe  ; 
Narutitawe — he  ! 


1  See  “  Omaha  Dance-Songs  of  the  Dakotas,” 
bagos,”  page  257. 


SONG  OF  THE  IRUSKA 

Orphaned,  lone,  forsaken  ! 
Orphaned,  lone,  forsaken  ! 
Orphaned,  lone,  forsaken  I 
Father  saith 
In  your  midst 
A  spotted  horse 
Is  ownerless  ; 

Orphaned,  lone,  forsaken  ! 
page  55,  and  “  He-lush-ka  Songs  of  Winne- 


THE  INDIANS'  BOOK 


II 


IRUSKA 


Song  by  Sakuruta  (Coming  Sun) 

SONG  OF  THE  IRUSKA 


Hawa  Atira, 

E-yo  ! 

Atira  tziksu  weta  tariruta 
Hawa  Atira, 

E-yo  ! 


Again,  O  Mother-Moon, 

E-yo  ! 

In  thy  power,  Mother-Moon, 
I  put  my  faith  again. 
Again,  O  Mother-Moon, 

E-yo ! 


Ill 

WAR-DANCE  SONG  OF  THE  IRUSKA 


Sung  by  Letakots-Lesa  (Eagle  Chief) 


IRUSKA 


SONG  OF  THE  IRUSKA 


Atius  si  tus  kitawi’, 

Atius  si  tus  kitawi', 

Atius  si  tus  kitawi', 
Karaku  ukitawiu 

He-hi ! 

Atius  si  taku  ruski 
Taku  tus  kitawi’, 

Atius  si, 

Karaku  ukitawiu 

He-yo  ! 


O  Father,  thou  dost  rule  supreme, 

O  Father,  thou  dost  rule  supreme, 

O  Father,  thou  dost  rule  supreme, 
None  greater,  thou  dost  rule  supreme. 

Can  there  be  any  over  thee? 

O  Father,  can  there  greater  be 
than  thou? 

None  greater,  thou  dost  rule  supreme. 


IV 

IRUSKA  SONG  OF  THE  CORN-OFFERING 


Sung  and  told  by  Sakuruta  (Coming  Sun) 


The  corn  is  upheld  and  offered  to  Tirawa,  and  he  is  implored  to 
look  down  while  the  people  sing,  “  Partake  we  together,”  for  while 
we  offer  the  corn  we  eat  in  symbol  with  the  Father. 


IRUSKA 


SONG  OF  THE  IRUSKA 


Atius, 

Ha,  is-tewat 
Askururit 

Weta  tsihakawatsista 


Father,  thou. 

Look  upon  us. 

Now  partake  we 
Of  the  corn  with  thee. 


[110] 


The  Daughter  of  Young  Chief 


PAWNEE 


SKIRIKI 

Coyote  Warrior-Song 

told  by  Lukitawika-wari  (Rider-Around-the-Great-Heaven-Domed-Lodge) 

HIS  is  a  Coyote  warrior-song,  belonging  to  the  Chawi 
band  of  Pawnees.  A  man  upon  the  war-path1  strays 
from  his  companions,  roaming  the  prairie  alone.  He 
thinks  of  home,  of  those  whom  he  loves,  and  is  lonely 
Then  he  looks  up  at  the  heavens  and  knows  that  ever 
present  is  Tirawa,  the  One  Above,  in  whom  he  puts  his  trust.  So 
he  sings: 

“O  great  expanse  of  the  blue  sky. 

See  me  roaming  here 
Again  on  the  war-path,  lonely; 

I  trust  in  you,  protect  me  !” 

This  song  belonged  first  to  Tirirak-tawirus.  The  friend  of  Tiri- 
rak-tawirus  was  Lukitawika-wari.  These  two  were  brothers  in 
the  Indian  manner — that  is,  brothers  by  mutual  adoption,  and 
such  brotherhood  is  stronger  than  blood. 

Tirirak-tawirus  was  older  than  Lukitawika-wari.  He  was  a 
man  when  the  other  was  but  a  boy.  When  the  elder  brother  was 
grown  old,  indeed,  he  gave  to  the  youth  this,  his  own  song,  bidding 
him  sing  it  when  he  needed  help  or  protection.  While  singing  it 
Lukitawika-wari  would  remember  his  brother. 

The  song  is  a  prayer  to  Tirawa  for  guidance  and  protection. 
As  such,  Lukitawika-wari  sang  it  when  far  from  home.  He  sang 
it,  too,  while  on  the  water  for  the  first  time.  Tirirak-tawirus  is 
long  dead,  but  Lukitawika-wari  still  lives  and  cherishes  the  song. 

The  names  of  the  two  brothers  are  very  beautiful.  Tirirak-ta¬ 
wirus  means  the  Rescuer,  or  the  good  one  who  comes  forward  in 
time  of  need.  The  significance  is  twofold.  It  may  mean  him  who 


Sang  ana 


and  sad. 


1  See  “  The  War-Path,”  page  154. 
[Ill] 


THE  INDIANS’  BOOK 


saved  the  life  of  a  friend  in  battle,  or  him  who  went  to  kill  a  buffalo 
as  a  consecrated  and  necessary  offering  to  Tirawa  in  religious  cere¬ 
mony. 

Lukitawika-wari  means :  He  who  rides  his  horse  around  in  the 
lodge.  But  the  lodge  here  meant  is  not  such  as  the  Pawnees  used 
to  build  of  earth  with  a  domed  roof  supported  by  posts ;  the  lodge 
is  the  world — the  open  prairie,  roofed  with  the  blue  vault  of  the  sky. 

SKIRIKI  COYOTE  WARRIOR-SONG 


Ah !  Tirus  takawaha 
Tiratpari — ho  ! 

Tatara  kita-wira 
Hawa  re-rawira — he-yo  ! 


O  great  expanse  of  the  blue  sky. 
See  me  roaming  here 
Again  on  the  war-path,  lonely; 

I  trust  in  you,  protect  me  ! 


SAKIPIRIRU 

Young  Dog  Dance-Song 
Sung  and  told  by  Letakots-Lesa  (Eagle  Chief) 

N  olden  times  the  Pawnee  would  dream  of  the  protection 
of  Tirawa.  He  would  see  in  vision  the  war-bonnet, 
for  this  may  be  worn  only  by  those  who  have  achieved 
greatness,  and  thus  the  war-bonnet  is  a  symbol  of  Tirawa. 
So  in  dream  or  trance  might  the  Pawnees  see  the  Father1  wearing 
the  war-bonnet.  Such  was  the  vision  of  Eagle  Chief. 

The  music  of  this  song  is  a  “  Young  Dog  Dance-Song/’  an  old 
song  of  the  Dog  Society.  But  the  words  are  those  heard  by  Eagle 
Chief  in  a  trance.  The  song  as  here  written  is  sometimes  sung  at 
the  opening  of  the  Pawnee  Spirit-Dance  ceremonies,  when  the 
dancers  stand  in  a  circle  before  beginning  the  dance. 

SAKIPIRIRU  YOUNG  DOG  DANCE-SONG 

Aldus  esa  ruka  ratu  teriku  The  Father,  him  I  saw 

Wearing  bonnet  of  war. 

Wearing  emblem  of  power — 

Father,  him  I  saw, 

Yea,  ’twas  the  Father  I  saw. 

1  In  this  particular  song  it  is  the  prophet  of  the  Spirit-Dance  religion  who  is  alluded  to  as 
“the  Father."  See  “History  of  the  Spirit-Dance,"  page  41. 

[112] 


PAWNEE 


KISAKA 


Song  of  Rejoicing  and  Thanksgiving 


Explained  by  I.esa-Kipiliru  (Young  Chief) 

HEN  a  man  receives  presents  from  another,  he  may  sing 
this  song,  remembering  that  all  things  come  through 
the  power  of  Tirawa,  and  asking  of  the  Father,  while 
giving  thanks,  a  renewal  of  his  gifts — long  life,  good 
health,  and  plenty  in  the  fields* 

The  man  who  receives  prays  for  a  blessing  on  the  man  who  gives. 
Thus  thanks  he  the  giver.  Well  is  it  to  give  to  the  poor  and  to 
the  helpless,  for  they  are  heeded  of  the  Father.  Their  prayers  will 
be  heard,  and  more  surely  than  those  of  all  others  will  their  blessings 
be  fulfilled  upon  the  giver.  Worth  more  than  all  the  prayers  of 
the  prosperous  and  strong  are  the  thankful  prayers  of  the  feeble, 
the  aged,  and  the  poor. 

KISAKA  SONG  OF  THANKSGIVING 


Nawa  Atius, 

Iri  ta-titska, 

Iri  asuta  hawa, 
Iri  rurahe  ! 


Now,  O  Father, 

Our  thanks  be  unto  thee, 

Our  thanks  !  Renew  our  plenty  ! 
Our  thanks  ! 

Renew  these  thy  gifts  to  us  ! 


KITZICOTA 


Song  of  the  Lance  Ceremony 


Sung  and  told  by  Letakots-Lesa  (Eagle  Chief) 


HE  men  of  the  Lance  Society  are  all  brave  warriors  who 
never  turn  back  for  fear  of  death.  One  day  while  they 
were  holding  their  ceremonial  dance  in  the  village  a 
boy -child  was  born.  Said  the  mother  to  her  dearly 
loved  babe,  “  When  you  are  grown,  join  not  that  Society  lest  you 

be  killed ;  for  those  men  fear  not  death.”  One  of  the  braves  heard 

[H3] 


THE  INDIANS'  BOOK 


the  woman  speaking  thus  to  the  boyt  and  told  the  other  warriors 
of  her  words.  Said  one  of  these : 

“  Where  will  the  woman  send  her  son  that  he  will  not  meet  death  ? 
All  men  must  die ;  every  man  must  one  day  meet  with  death/' 

So  the  Lance  Warriors  made  this  song  which  is  sung  in  their 
ceremonies.  The  woman's  words  of  warning  to  her  son  were  in¬ 
deed  proof  that  all  knew  the  Lance  Warriors  feared  not  death. 
But  the  inner  meaning  of  the  song  is  the  reply :  **  Where  will  the 
woman  send  her  son  that  he  will  not  meet  death  ?  All  men 
must  die." 


KITZIC//TA 


SONG  OF  THE  LANCE  CEREMONY 


Nari-ru-rit  riwaka 
Nari-ru-rit  riwaka 
Tzapat  tiwaku 
Taku  kaki  nariksha 
Kitzic/ita  ra  huriwi 
Nari-ru-rit  riwaka. 


This  the  word  there  overheard. 

This  the  word  there  overheard  ; 

'Twas  a  woman  spoke  : 

**  Heed  not  you  the  men  who  dance. 
Never,  my  son,  for  you  the  Lance  !" 
This  the  word  there  overheard. 


KEHARE  KATZARU1 


Songs  of  the  Spirit-Dance  (Ghost-Dance  Songs) 

I 

Sting  and  told  by  Letakots-Lesa  (Eagle  Chief) 


In  a  dream,  Eagle  Chief  saw  spread  out  above  him  the  heaven 
with  all  its  stars,  like  the  many  stars  upon  the  American  flag ;  so 
in  this  song,  which  he  heard  in  his  dream,  he  sings  of  the  heavens 


as  of  the  flag. 

KEHARE  KATZARU 

Irittatu  terit, 

Irittatu  terit, 

Na-rittatu  terit, 
Na-rittatu  terit. 
Nawiru-tzawhio  rhurhera, 
Nawiru-tzawhio  rhurhera. 


SONG  OF  THE  SPIRIT-DANCE 

I  saw  it,  yea,  I  saw  it, 

I  saw  it,  yea,  I  saw  it. 

In  very  truth  I  saw  it. 

In  very  truth  I  saw  it. 

'Twas  the  starry  banner  beautiful, 
'Twas  the  starry  banner  beautiful. 


‘See  “The  History  of  the  Spirit-Dance,”  page  41.  Compare  songs  of  the  Spirit-Dance, 
Dafcota,  and  Arapaho. 

1  114] 


PAWNEE 


II 

Explained  by  Sakuruta  (Coming  Sun) 

Once  the  spirit  of  Tirawa  touched  a  woman  as  she  lay  in  trance 
during  the  Spirit-Dance.  So  afterwards  when  Spirit-Dances  were 
held,  the  people  would  call  the  woman  to  join  them,  singing  this 
song: 


KEHARE  KATZARU 


SONG  OF  THE  SPIRIT-DANCE 


Ah,  heru  tzu-ut. 
Ah,  heru  tzu-ut, 
Atius, 

We  ta-ita  Atius, 
Atius, 

We  ta-ita  Atius. 


Ah,  beloved  sister, 

Ah,  beloved  sister. 

He  above. 

He  the  Father  knoweth  thee. 
He  above. 

He  the  Father  knoweth  thee. 


HI 

Explained  by  Sakuruta  (Coming  Sun) 

The  dancers  in  the  Spirit-Dance  gather  at  sundown  and  dance 
all  night  until  the  rising  of  the  morning  star.  The  Pawnees  are  a 
people  of  deep  feeling.  Sometimes  the  spirit  of  man  is  touched  and 
stirred  with  the  coming  of  night.  In  this  song  the  dancer  is  impelled 
to  utter  his  feeling,  and  gives  the  cry  of  the  crow,  the  sacred  bird 
of  the  Spirit-Dance.  , 


KEHARE  KATZARU 


SONG  OF  THE  SPIRIT-DANCE 


Ah,  tziksu  rutatiku 
We  raku  retkaha  ra, 
Kaw-kaw,  rakuwak-tahu, 
Kaw-kaw,  rakuwak-tahu, 
Operit  we  ra  ti  kuhruri, 
Operit  ti  ra-hu.  » 


Ah,  now  my  spirit  stirreth 
With  the  coming  of  the  nightfall. 
Caw-caw,  like  the  crow  I  cry. 
Caw-caw,  like  the  crow  I  cry. 

All  the  night  we  shall  wait  for  the  star 
Till  the  star  riseth  here. 


8 


THE  INDIANS’  BOOK 


IV 


Explained  and  translated  by  Lesa-Kipiliru  (Young  Chief) 


In  singing  this  song,  whenever  the  dancers,  through  weariness, 
begin  to  flag  and  make  as  though  they  would  cease  at  the  end  of  the 
round,  some  one  starts  another  verse  to  the  song.  So  long  as  new 
verses  are  started,  the  dance  continues,  round  on  round. 


KEHARE  KATZARU 

SONG  OF  THE  SPIRIT-DANCE 

Ruwerera,  ruwerera, 

Operit  ruwerera, 

Operit  ruwerera. 

Star  of  Evening,  Star  of  Evening, 
Look,  where  yonder  she  cometh, 
Look,  where  yonder  she  cometh. 

Rerawha-a,  rerawha-a, 

Operit  rerawha-a, 

Operit  rerawha-a. 

Stars  of  heaven,  stars  of  heaven, 
Lo,  the  many  are  coming, 

Lo,  the  many  are  coming. 

Ruwerera,  ruwerera, 

Atira  ruwerera, 

Atira  ruwerera. 

Mother-Moon,  Mother-Moon, 

Look,  where  yonder  she  cometh. 
Look,  where  yonder  she  cometh. 

Ruwerera,  ruwerera, 

Operit  ruwerera, 

Operit  ruwerera. 

Star  of  Morning,  Star  of  Morning, 
Look,  where  yonder  he  cometh, 
Look,  where  yonder  he  cometh. 

Ruwerera,  ruwerera, 

Atius  ruwerera, 

Atius  ruwerera. 

Father-Sun,  Father-Sun, 

Look,  where  yonder  he  cometh, 
Look,  where  yonder  he  cometh. 

m 


■e^tr^~  , 


4— 1-J- 


Me.-*  -  *  -  ■*--*- 


r- 


9 


a^ikkk 


i  t-i 


J 


CHEYENNE  TITLE-PAGE 


The  war-bonnet  is  painted  by  a  Cheyenne  Indian,  Hotowaso 
(Little  Buffalo  Bull). 

The  lettering  is  by  Hinook  Mahiwi  Kilinaka  (Angel  De  Cora). 

- - - 


II  " 

Hi  _ 


r'.  I  f 


r~**± 


¥4 


3?  X. 


iJEESESG 


3M-HJTIT  3KV13Y3H0 


*  w.,  „c;kr,T  -,r.r,sv3ri3  B  vd  balms::  at  iannod--«*w  snT 
uafiWtttoH ' ,nsibnl  ^..isys  sitlil) 

.(bioD  sQ  IsgnA)  EjUniliX  iwiHsJtt  Ao.aH  yd  ai  S^slis!  arii 


yhs... 


Hmy|HmHu»n»HiHHHi>M»MiqifumnMiMi;«ni/</N<riMi>l»n,»i)/)U)ii<mwMnirmiii(i  i u« mi r iik *i mu ri/i >/>r . 


*■ 


THE  CHEYENNES 


HE  Cheyennes  belong,  linguistically,  to  the  wide-spread 
Algonquian  family,  and  are  one  of  its  northwestern 
outposts.  Their  original  home  was  probably  in  Minne¬ 
sota  along  the  river  that  now  bears  their  name,  but 
they  had  migrated  westward  of  the  Missouri,  and  were  found  by 
Lewis  and  Clark  in  the  Black  Hills  region  of  the  Dakota  and 
Wyoming  States.  The  name  “  Cheyenne  ”  is  of  Dakota  origin,  and 
means  **  red,”  or  **  alien.”  In  their  own  tongue  the  Cheyennes 
call  themselves  “  our  people.” 

Early  in  the  last  century  there  occurred  a  division  in  the  tribe — 
one  band  went  southward  to  the  Arkansas  River  with  the  Arapahos, 
while  the  rest  remained  in  the  neighborhood  of  the  Dakotas.  Thus 
originated  the  northern  and  southern  bands  of  the  Cheyenne. 

Before  the  coming  of  the  white  man  brought  them  change,  these 
Indians  were  a  sturdy,  prosperous  folk,  fighting  their  enemies 
lustily,  trading  with  friendly  neighbors  over  a  vast  territory,  and 
themselves  supplying  all  the  needs  of  their  self-respecting  and 
vigorous  community  life.  To  them,  as  to  all  of  the  Indians  of  the 
plains,  the  buffalo  was  the  giver  and  sustainer  of  earthly  life.  It 
was  small  wonder,  indeed,  that  the  buffalo,  like  the  sun,  should 
have  been  revered  as  a  glorified  and  visible  emblem  of  the  source  of 
life  and  power. 

None  of  the  plains  tribes  was  more  skilful  in  the  chase,  and 
none  more  daring  on  horseback,  than  the  Cheyenne.  Nor  were 


NOTE  FOR  PRONUNCIATION  OF  CHEYENNE  TEXT 

Unless  otherwise  indicated,  vowels  have  the  Continental  sound,  and  consonants 
the  English. 

Ch ,  in  italic,  is  a  guttural,  like  ch  in  German. 

[1471 


IO 


THE  INDIANS’  BOOK 


any  Indians  more  thrifty  than  they  in  acquiring  the  ponies  and 
buffalo-robes  that  constituted  wealth. 

White  men  who  knew  the  Cheyennes  in  those  early  days  have 
left  indisputable  testimony  of  their  virtue  and  endurance.  Crime 
was  scarcely  known  among  them.  Their  family  governmentt  like 
that  of  many  other  tribes,  was  admirable,  and  even  beautiful.  Old 
age  everywhere  received  the  veneration  and  respect  that  are  its 
due;  the  child  rendered  complete  obedience  to  the  parent,  yet  harsh 
punishment  was  scarcely  ever  practised,  and  child-whipping,  it  is 
said,  was  quite  unknown.  The  Cheyennes  were  truthful,  invariably 
brave,  and  devout  in  peace  and  in  war. 

When  the  westward-bound  emigrant  began  to  cross  the  Cheyenne 
country  it  was  such  a  people  whom  he  found.  Though  the  white 
man  slaughtered  the  Indians’  game  and  burned  their  grass,  the 
Cheyennes  at  first  contented  themselves  with  urging  that  their 
possessions  be  protected,  if  need  be,  by  a  military  guard,  and  that 
the  tribe  be  compensated  for  the  right  of  way  through  its  territory. 
It  was  only  later,  when  whiskey  and  plunder  in  the  name  of  trade 
had  done  their  work — only  when  misunderstandings,  betrayals, 
starvation,  and  massacre  had  destroyed  his  faith  and  exhausted 
human  endurance — that  the  Cheyenne  turned  aggressor.  Then  it 
was  that  he  repaid  in  deeds  of  obvious  cruelty  and  horror  the  un¬ 
seen  suffering  he  had  borne  from  youth  almost  to  old  age. 

History  tells  of  no  finer  effort  at  loyalty  than  that  made  by 
the  Cheyenne  and  allied  tribes  after  the  treaty  at  Fort  Laramie 
was  signed.  Nor  did  ever  a  more  heroic  and  desperate  attempt  at 
self-preservation  thrill  the  records  of  a  people  than  the  tragic  effort 
of  the  little  band  of  Northern  Cheyennes  to  escape  from  the  Indian 
Territory  and  return  to  their  homes — the  country  of  their  ancient 
freedom  and  manhood.1 

The  Cheyenne  songs  in  The  Indians’  Book  were  contributed  by 
the  Southern  Cheyennes,  who,  with  their  neighbors  the  Arapahos, 
have  received  lands  in  severalty  in  Oklahoma.  They  are  still  a 
valiant,  vigorous  people,  temperate,  keen-sighted,  and  intelligent. 
Indeed,  if  human  nature  be  measured  by  qualities  of  loyalty  and 

1  See  pamphlet  entitled  “  The  Case  ol  Dull  Knife's  Band,”  Court  of  Claims,  Government 
Printing-Office,  Washington,  1901. 


[146] 


CHEYENNE 


courage,  by  scorn  of  death  and  scorn  of  falsehood,  even  by  spirited 
uprisings  against  oppression  and  injustice,  then  is  there,  perhaps, 
in  all  America  no  finer  stock  than  that  embodied  in  the  Cheyenne 
people*  Nor  is  there  a  truer  man  of  any  race  than  High  Chief, 
the  noble  Indian  who  has  helped  so  greatly  in  the  making  of  this 
book* 

WIHU-HWAIHU-O-USZ,  OR  HIAMOVI 

High  Chief,  or  High  Wolf 

IGH  CHIEF  is  the  great  son  of  great  parents*  His  father 
was  a  famed  Dakota  chief*  His  aged  mother  is  a  Chey¬ 
enne  woman  of  high  standing.  The  forceful  qualities  of 
both  tribes  have  united  to  make  in  High  Chief  a  striking 
,  expression  of  all  that  is  best  in  Indian  character.  He  is  a  chief 
among  both  the  Dakotas  and  Cheyennes,  and  is  cousin  to  Apiataw, 
the  head-chief  of  the  Kiowas*  He  has  travelled  widely,  and  is 
known  throughout  the  Indian  country*  Of  late  he  has  been  em¬ 
ployed  by  the  government  as  Indian  policeman,  and  his  fidelity 
to  duty,  whether  he  be  observed  or  unobserved,  makes  his  service 
a  lesson  in  loyalty. 

With  entire  devotion  he  has  given  himself  to  the  making  of  this 
book,  going  with  the  white  friends  from  camp  to  camp,  telling  other 
Indians  of  the  purpose  of  the  book,  everywhere  hallowing  the  under¬ 
taking  through  his  interest  and  enthusiasm.  It  is  his  wish  that  the 
collection  of  Cheyenne  songs  should  open  with  the  Sun-Dance 
Song,  **  because,”  he  said,  u  it  is  a  prayer.”  Then  should  follow 
the  Song  of  the  Buffalo-Dance,  because  this  song  belongs  to  the 
society  composed  entirely  of  chiefs. 

The  drawings  that  High  Chief  has  made  for  this  book  are  faith¬ 
ful  pictures  of  things  of  the  olden  time,  made  by  his  own  desire. 
He  has  drawn  nothing  which  he  has  not  himself  seen.  Every 
picture  is  the  “  straight  truth,”  not  one  is  **  a  lie.” 1 

To  the  loving  enthusiasm  of  this  Indian  chief  The  Indians'  Book 
owes  more  than  can  ever  be  told. 


1  Of  the  many  illustrations  made  by  High  Chief,  it  has  been  possible  to  reproduce  only 
a  few. 

f  H9] 


THE  INDIANS'  BOOK 


CHEYENNE  LIFE  IN  THE  OLDEN  TIME 

Told  by  Chief  Hiamovr  (High  Chief)  • 

N  the  beginning  our  Father  made  the  earth  and  gave 
to  us  all  things.  We  had  no  such  clothes  as  now,  nor 
had  we  any  metals.  We  wore  the  skins  of  beasts,  for 
the  Father  gave  to  us  the  buffalo  and  all  kinds  of  ani¬ 
mals  to  meet  our  wants. 

The  bow  we  made  ourselves,  and  arrows,  too,  pointed  with  sharp 
stone.  When  we  had  made  the  bow  and  arrow  we  began  to  hunt, 
and  when  we  saw  the  buffalo  we  would  creep  up  to  him  on  hands 
and  knees,  softly,  softly,  until  within  a  hundred  paces  of  him.  Then 
we  would  rise  on  one  knee  and  shoot  him  dead.  We  had  knives  , 
made  of  the  ribs  of  the  buffalo  or  of  sharpened  stones,  and  with 
these  we  skinned  the  buffalo  and  cut  off  the  meat  and  carried  it 
home  on  our  backs.  The  women  sliced  the  meat  and  then  set  up 
long  poles  supported  on  notched  sticks,  and  on  these  poles  they 
hung  the  meat  to  dry.  They  dried  the  hides,  too,  and  then  scraped 
them  with  sharp  stones  until  they  grew  soft,  and  of  these  they 
made  shirts  and  leggings. 

We  had  no  horses,  but  used  big,  shaggy  dogs.  When  we  jour¬ 
neyed  we  packed  the  dried  meat  in  satchels  of  painted  hide.  These 
were  carried  by  the  dogs.  Two  poles  were  bound  together  by  a 
strip  of  hide  and  fastened  to  the  neck  of  the  dog,  and  the  bundles 
were  tied  upon  the  poles.  Each  family  had  its  own  dogs.  Some¬ 
times  on  a  long  journey  the  dogs  would  grow  tired  and  begin  to 
droop  and  flag.  Then  the  people  would  call  to  the  dogs,  **  Hiya, 
go  on,  go  on !"  But  no  matter  how  we  called,  the  dogs  would  hang 
their  tongues  and  lag  slower  and  slower. 

Then  some  one  would  cry,  u  Buffalo  ahead;  fresh  meat  in  plenty  V* 
and  then  the  dogs  would  bound  forward  as  though  they  had  just 
set  out. 

When  we  came  to  a  camping  -  ground  the  women  untied  the 
bundles  and  put  the  meat  in  pots  to  boil.  These  pots  were  made 

of  fine  earth  hardened  in  the  fire. 

f  150] 


Hiamovi  (High  Chief) 


CHEYENNE 


When  any  one  wanted  to  kindle  a  fire  he  would  hold  a  piece  of 
dry,  rotten  wood  against  a  stone,  and  then  strike  the  stone  with 
flint  so  that  the  sparks  would  light  upon  the  dry  wood.  Or  he 
would  take  the  stalk  of  the  soapweed  plant  and  rest  one  end  in  a 
socket  bored  in  a  stone.  Then  he  would  twirl  the  stalk  between 
his  hands,  and  twirl  and  twirl  till  at  last  smoke  and  fire  came  at 
the  end.  All  this  was  long  ago,  before  our  people  ever  had  seen 
the  white  man. 

But  one  time  a  man  was  far  away  in  Texas  and  there  he  saw 
a  horse.  He  was  frightened  at  first  because  he  thought  it  must 
be  a  creature  that  would  kill  men  and  devour  them.  But  he  caught 
the  horse  and  tied  him  fast  and  patted  him,  and  when  he  found  the 
horse  did  not  bite  he  was  glad  and  tried  to  tame  him.  When  he 
had  tamed  him  he  harnessed  him  with  poles,  like  a  dog,  and  put 
his  children  on  the  horse's  back  and  seated  himself  on  the  poles 
behind.  Afterwards  the  people  found  other  horses,  and  these  had 
colts.  So  we  came  to  have  many  horses.  Nobody  now  remembers 
the  time  when  we  had  no  horses.  Only  the  old  people  tell  of  it. 

My  mother  told  me  all  these  things.  She  is  over  a  hundred 
years  old,  and  she  learned  these  stories  from  her  grandmother. 
This  was  the  way  we  lived  in  the  old,  old  time  when  all  that  we  had 
was  given  to  us  by  the  Father  or  made  by  us  ourselves. 


OHWIWI  NO-OTZ 

Song  of  the  Offering  Ceremony  (Sun-Dance  Song) 

Sung  and  told  by  Chief  Hiamovi  (High  Chief,  or  High  Wolf) 

’"’HE  Sun -Dance  is  the  name  the  white  man  has  given 
to  what  the  Cheyenne  calls  The  Offering .  This  is  an  an¬ 
cient  religious  ceremony,  and  through  it  is  worshipped 
Mac/ia-Mahaiyu,  the  Great  Mystery,  who  rules  the  day 
by  the  sun  and  the  night  by  the  moon.  The  ceremony  is  also  for 
the  healing  of  the  sick. 

This  song  is  the  first  in  the  ceremony.  It  is  a  prayer,  sung 

slowly  four  times  while  the  dancers  stand  in  a  circle,  with  out- 

[151] 


THE  INDIANS'  BOOK 


stretched  handst  gazing  upward.  Sometimes  tears  will  stream 
from  the  upturned  eyes  in  the  intensity  of  prayer.  Thus  the  people 
pray  that  all  evil  may  be  lifted  from  them.  At  the  end  of  the 
fourth  singing  of  the  song  the  drum  is  struck,  the  time  of  the  song 
changes,  and  the  dance  begins.  The  dancers,  looking  ever  upward, 
blow  on  whistles  made  from  the  eagle's  wing.  The  song  is  then 
sung  in  quick  dance-time,  while  the  whistle  and  drum  are  sounded 
with  each  beat. 

This  is  only  one  of  the  wellnigh  countless  Sun -Dance  songs. 
But  it  is  an  old  song  hallowed  by  sacred  use. 

MAHOEVA* 1  NO-OTZ 

Buffalo-Dance  Song 

Sung  and  told  by  Chief  Hiamovi  (High  Chief) 

HE  Buffalo-Dance,  or  Red  Shields'  Dance,  belonged  to 
the  Red  Shields  Society.  Nearly  every  society  has 
its  own  songs.  But  the  Chiefs'  Society,  which  is  com¬ 
posed  only  of  chiefs,  has  no  songs,  and,  therefore,  uses 
those  of  the  Red  Shields.  Thus  the  Buffalo-Dance  Song  belongs 
to  the  Chiefs'  Society  as  well  as  to  the  Red  Shields.  This  is  an 
old  song  of  high  importance. 

WTJO/TCHSE  ETAN  NO-OTZ 

Song  of  the  Red  Fox  Society 
Sung  and  told  by  Chief  Hiamovi  (High  Chief) 

HE  men  of  the  Red  Fox  Society  are  the  bravest  young 
warriors  of  the  tribe.  To  them  death  is  as  nothing. 
Their  thought  is  only  of  great  deeds  and  war  honors. 

So  the  young  Red  Fox  sings  that  the  aching  tooth  and 
of  age  are  not  for  him;  rather  would  he  die  gloriously 
in  the  strength  of  young  manhood  than  creep  through  the  camp 
feeble  and  old. 

1  Mahoevas,  “  Red  Shields  ” 

[  1521 


|[TJ| 

bent  back 


CHEYENNE 


So  while  adorning  himself  for  battle  he  sings  this  song;  at  the 
same  time  may  be  heard  the  sound  of  women's  wailing  and  lament¬ 
ing  that  one  so  young  and  comely  must  so  soon  meet  his  death. 
Then,  armed  and  mounted,  splendid  in  paint  and  eagle-feathers, 
with  holy  emblems  fixed  upon  himself  and  his  horse,  the  warrior 
goes  forth  to  dash  along  the  line  of  his  enemies,  shooting  into  the 
midst  of  them  as  he  rides  through  the  storm  of  their  bullets  and 
arrows.  If  he  pass  the  line  unscathed,  he  turns  his  horse  and  rides 
back  again  braving  the  same  storm;  but  now  perhaps  the  power  of 
his  protecting  emblems  no  longer  holds,  and  horse  and  man  roll 
to  the  earth,  shot  through  and  through. 

The  fight  is  done.  All  have  left  the  field.  There  lies  the  young 
warrior,  wounded  or  hopelessly  crippled.  How  long  will  he  lie 
alone  on  the  prairie  ?  Perhaps  the  wolves  will  come  with  the 
stars.  But  the  Red  Fox  warrior  shows  no  pain.  Sitting  up  and 
awaiting  his  death,  he  rocks  softly  to  and  fro,  singing  this  song  : 

Ma-achis  hevisa  Nay,  I  fear  the  aching  tooth  of  age ! 

Naehio  ! 


HOHIOTSITSI  NO-OTZ 

Morning  Song 

Sung  and  told  by  Chief  Honihi-Wotoma  (Wolf-Robe) 

This  is  one  of  the  oldest  Cheyenne  melodies.  Different  words 
have  been  put  to  it  from  time  to  time.  It  is  sung  by  old  men, 
often  from  the  summit  of  the  hills  at  dawn. 

HOHIOTSITSI  NO-OTZ  MORNING  SONG 

Ehani  nah-hiwatama.  He,  oar  Father, 

Napave  vihnivo.  He  hath  shown  His  mercy  anto  me. 

In  peace  I  walk  the  straight  road. 


THE  INDIANS'  BOOK 


THE  WAR-PATH 

HE  war-path  might  bring  to  a  man  honor  and  glory,  or 
disgrace  and  death,  but  in  the  olden  time  it  was  the  life 
of  every  man*1 

A  war-party  was  usually  led  by  a  tried  warrior,  wise 
through  experience  and  consecrated  to  his  trust.  He  was  known 
as  the  Leader,  and  the  other  warriors  swore  allegiance  to  his  com¬ 
mand.  Great  was  his  honor  if  he  always  brought  back  his  men 
unharmed. 

The  war-party  might  be  large,  or  it  might  number  but  a  few. 
Sometimes  two  men  only  would  set  out  together.  Often  a  warrior 
would  go  on  the  war-path  entirely  alone;  in  some  rare  case  a  woman 
might  accompany  her  husband.  But  in  time  of  intertribal  strife 
the  whole  tribe  would  go  forth.  No  one  knew  how  long  the  warriors 
would  be  gone.  Life  upon  the  war-path  was  full  of  danger,  priva¬ 
tion,  and  indescribable  hardship. 

No  important  task  is  undertaken  by  the  Indian  without  prep¬ 
aration,  consecration,  and  prayer.  If  the  Indian  prays  in  common 
acts  of  life,  how  serious  and  devout  is  he  upon  the  war-path,  when 
life  and  more  than  life — renown  and  honor — are  at  stake. 

Before  setting  out  on  the  war-path  religious  ceremonies  are 
performed  and  the  protection  of  the  Supreme  Being  is  invoked. 
Every  night  upon  the  war-path  prayers  are  made,  and  every  morn¬ 
ing  each  warrior  renews  his  supplication  and  his  consecration. 
Many  of  the  so-called  war-songs  are  religious  in  character,  many 
again  are  expressions  of  grief  for  slain  comrades,  or  songs  in  praise 
of  the  valiant  dead.  Others  are  outbursts  of  longing  for  loved  ones 
at  home,  or  weary  sighs  of  loneliness.  Still  others  tell  more  directly 
of  the  deeds  of  war. 

The  Songs  of  Victory  are  usually  sung  on  return  of  the  victors, 

1  An  Indian  went  upon  the  war-path  in  somewhat  the  spirit  of  a  knight-errant  setting 
out  in  search  of  adventure  and  glory.  Every  Indian  was  a  warrior,  as  every  nobleman  was  a 
knight.  Chivalry  and  ideality  of  purpose  were  not  the  cause  of  the  Indian’s  warfare.  But  like 
the  knight,  the  Indian  went  out  to  fight  from  personal  motives  and  through  the  desire  for  great 
deeds.  The  war-path  was  most  often  the  path  of  individual  adventure,  not  necessarily  a  general 
conflict  of  one  tribe  with  another. 


[  154] 


CHEYENNE 


and  are  filled  with  praise,  flings  of  sarcasm,  bits  of  high-spirited 
humor,  and  triumphant  taunts  of  victpry.  Yet  many  of  these 
victory-songs  are  religious  also  in  character  and  speak  the  profound 
belief  that  great  deeds  are  achieved  through  a  power  that  is  greater 
than  man. 

AOTZI  NO-OTZ 

Song  of  Victory 

I 

Sung  and  told  by  Chief  Honifai-Wotoma  (Wolf-Robe) 

This  song  tells  how  the  triumphant  Cheyennes  have  left  their 
slain  enemies  to  the  wolves.  It  is  also  descriptive  of  the  Chey¬ 
enne  himself,  who  on  the  war-path  must  be  as  the  wolf,  often  hun¬ 
gry,  lone,  and  enduring.1 


AOTZI  NO-OTZ 


SONG  OF  VICTORY 


Honih-hio 
Tsi-wona-atz 
Imio-missi-yo  ! 


Ho  ye  !  hear  ye  !  Come  ye  !  Feast  ye  ! 

O  wolves  ! 

Feast,  be  ye  merry, 

Yo,  ho,  gather 
At  the  dawn. 


AOTZI  NO-OTZ2 

Song  of  Victory 

II 


Sung  by  Chief  Honihi-Wotoma  (Wolf-Robe) 


WAR -PARTY  is  returning  in  triumph.  The  faces  of 
the  warriors  are  blackened  with  ashes  as  a  sign  of  victory, 
for  to  the  Cheyenne  black  is  the  symbol  of  good. 

Among  the  watching  people  are  men  who  stayed 
behind  when  the  war-party  set  out,  and  these  all  wear  on  their 
faces  the  usual  red  paint. 

’See  “Hache-hi  Naad,  Arapaho/’  page  199. 

7  The  story  of  this  song  was  told  by  an  aged  Cheyenne  warrior. 

[155] 


THE  INDIANS'  BOOK 


Now  the  warriors  had  not  gone  forth  stealthily,  nor  by  night, 
but  by  open  day  in  view  of  all*  The  men  who  had  stayed  at  home 
coaid  have  joined  them  had  they  wished. 

So,  as  they  come,  the  warriors  fling  a  triumphant  taunt  at  those 
with  the  red  paint  thick  upon  them,  while  on  their  own  faces  is 
the  black  of  victory. 

The  song  is  a  very  old  one,  and  is  sung  in  time  of  victory  or  re¬ 
joicing. 

AOTZI  NO-OTZ  SONG  OF  VICTORY 


Tsivais  siyo  tsitonitoyus 
Maitom  tsihotonihos. 
Tahta  nanias-sini ! 


Who  are  these 

Who  stand  and  gaze  at  os  ? 

Who  are  these 

With  red  paint  thick  opon  them  ? 
By  day 

In  the  sight  of  all  men 
Went  we  forth  to  war ! 


AOTZI  NO-OTZ 
III 


Song  of  Victory 

Song  and  told  by  Chief  Nahios-si  (Three  Fingers) 

HE  song  tells  of  the  Sacred  Bow  which  came  to  the  people 
through  the  Great  Mystery.1  This  was  made  of  box¬ 
wood,  and  was  so  holy  that  it  never  was  allowed  to  touch 
the  ground.  When  the  people  encamped,  it  was  hung 
upon  the  branch  of  a  tree,  or,  if  there  were  no  timber,  it  was  laid 
upon  buffalo-dung,  for  the  buffalo  is  revered  by  the  Cheyenne. 
No  one  was  allowed  to  touch  the  Bow  except  the  man  appointed 
as  its  bearer.  Once  it  happened  that  just  before  the  warriors  set 
out  on  the  war-path  the  young  man  who  bore  the  Bow  went  to 
speak  to  the  maiden  whom  he  loved,  and  as  he  came  he  warned 
her,  saying,  **  Come  not  near,  for  I  carry  the  Sacred  Bow.”  Then 
he  joined  the  warriors  and  was  foremost  in  the  attack  when  they 


Cheyenne  name  for  the  Supreme  Being. 
[  156] 


CHEYENNE 


galloped  upon  the  enemy,  but  in  the  midst  of  the  charge  his  courage 
failed  him,  and  he  turned  his  horse  to  one  side.  When  the  war- 
party  returned  successful,  they  celebrated  their  victory  with  a  dance. 

But  the  young  man’s  beloved  had  heard  of  his  cowardice,  and 
she  called  out  to  the  dancers,  **  Wait,  let  me  sing  you  a  song.” 
Then  in  scornful  mockery  of  her  lover  she  sang : 

“  Bearer  of  the  Sacred  Bow, 

You  should  carry  a  bow  of  elm!” 

The  young  man  stood  apart,  because  as  bearer  of  the  Bow  he 
might  not  mingle  with  others  lest  some  one  accidentally  touch 
the  sacred  charge.  When  he  heard  the  reproach  in  this  song  he 
felt  such  bitter  sorrow  and  shame  that  he  went  away  to  a  high  hill 
and  there  wept  like  a  child. 

There  were  but  two  or  three  of  these  bows  in  the  whole  tribe, 
and  now  there  is  none  at  all  among  the  Southern  Cheyennes,  though 
there  is  one  man  still  living  who  in  his  younger  days  carried  a  Sacred 
Bow. 

No  one  knows  how  old  is  this  song.  The  people  sang  it  when 
they  had  been  victorious  over  their  enemies  or  successful  on  the 
buffalo  -  hunt.  Nahios-si  knows  that  his  great-grandfather  sang 
the  song,  and  that  it  was  sung  by  the  grandfathers  of  those  who 
now  are  old  men. 


AOTZI  NO-OTZ 


SONG  OF  VICTORY 


Hetanu  dzinimat  'tu, 
Hetanu  dzinimat  'tu, 
Hitu  hommu  nimadzi ! 
Hitu  hominu  nimadzi ! 


Bearer  of  the  Sacred  Bow, 

Bearer  of  the  Sacred  Bow, 

You  should  carry  a  bow  of  elm. 
You  should  carry  a  bow  of  elm  I 


THE  INDIANS'  BOOK 


AN  OLD  TALE 

Told  by  Moc/ita-Wontz-tz  (Starving  Elk) 

NCE  the  people  were  encamped  in  a  circle,, 

and  in  the  centre  of  the  camp  they  held  a  game.  But 
the  people  were  hungry;  they  had  nothing  to  eat. 

Now  there  were  two  medicine-men,  holy  men,  men  of 
mystery,  who  had  dressed  themselves  in  great  beauty  to  go  to  the 
game.  The  first  holy  man  wore  a  buffalo-robe,  the  second  wore 
one  also.  The  two  medicine-men  looked  at  each  other.  They 
were  dressed  exactly  alike,  their  faces  were  painted  alike,  and  their 
feathers  were  arranged  in  the  same  way. 

Said  the  first  holy  man,  44  Have  you  aught  against  me  that  you 
imitate  my  dress  ?  Are  you  mocking  me  ?" 

And  the  second  answered,  “  It  seems  that  you  are  mocking  me. 
Where  did  you  learn  to  dress  like  this  ?" 

Then  the  first  said,  “  In  a  dream  I  went  to  the  clear  spring  that 
is  near  the  camp,  and  there  in  the  spring  I  learned  this  dress/' 

And  the  second  said,  **  I  too  went  to  the  spring  in  a  dream,  and 
there  I  learned  this  dress." 

Then  they  argued,  and  at  last  they  said,  **  Go  we  together  to 
the  spring  by  open  day  and  let  us  prove  which  has  the  better  right 
to  wear  this  dress." 

So  they  set  out  and  all  the  people  followed. 

When  they  came  to  the  spring,  each  one  said  defiantly  to  the 
other,  44  Dare  you  go  in  ?" 

So  they  stepped  in  together  and  sank  to  the  very  bottom.  There 
at  the  bottom  they  saw  an  old  woman  who  lived  in  the  spring,  and 
she  asked  of  them,  44  What  want  you  here  ?" 

Now  they  both  were  hungry,  and  they  answered,  44  Our  people 
have  nothing  to  eat." 

So  the  woman  gave  to  each  a  bowl  of  food  to  take  back  with 
him;  in  the  one  bowl  she  put  corn,  and  in  the  other  pemmican. 

So  the  two  holy  men  went  back  to  their  people  and  gave  them 
the  food,  and  they  all  ate  of  it,  the  whole  tribe,  even  the  little  chil- 

[158] 


CHEYENNE 


dren.  Yet,  however  much  they  ate  of  it,  the  two  bowls  never  were 
empty. 

This  is  an  old  tale,  often  told,  and  many  a  Cheyenne  knows 
how  thus  there  first  came  to  his  people  the  food  on  which  they  live 
— meat  and  corn. 


NAI  NO-OTZ 

Song  of  Healing  (Medicine-Song) 

Sung  and  told  by  Chief  Nahios-si  (Three  Fingers) 

HE  power  to  heal  men  was  bestowed  upon  Nahios-si  in  a 
vision  of  the  night.  In  dream  he  stood  facing  the  East, 
when,  as  the  day  broke,  a  Hawk  appeared  to  him  and 
spoke,  saying,  “  I  am  sent  to  you  with  a  message.” 1 

Then  Nahios-si  asked  of  the  Hawk,  “  Who  are  you  ?” 

And  the  Hawk  said,  **  Mac/za-Mahaiyu,  the  Great  Mystery,  has 
sent  me  to  tell  you  that  henceforth  you  shall  have  power  to  heal 
all  kinds  of  sickness  among  white  men  and  black,  as  well  as 
among  your  own  people  and  the  animals.” 

Thus  through  the  Hawk  came  power  and  knowledge  to  Nahios-si, 
also  this  song  which  the  Hawk  sang,  and  which  henceforth  Nahios-si 
should  sing  in  making  his  cures. 

In  this  wise  Nahios-si  became  a  man  of  medicine.  To  cure  the 
sick  he  brews  a  drink  from  juniper  and  the  root  of  wild  anise,  ac¬ 
cording  to  the  knowledge  revealed  to  him  through  the  Hawk.  This 
drink  has  great  healing  power.  Nahios-si  stays  beside  the  sick 
all  night  and  sings  his  healing  song  until  just  before  the  sun  rises. 

And  now,  even  as  the  Hawk  foretold,  do  white  men  and  black, 
as  well  as  his  own  people,  come  to  Nahios-si  to  be  healed,  and  for 
all  men  and  animals  he  sings  his  holy  song. 

Often  still  in  sleep  the  Hawk  appears  to  him,  teaching  him  wis¬ 
dom,  and  giving  him  anew  the  power  to  heal. 

So  long  as  Nahios-si  shall  live  will  he  cherish  the  message  of  the 
Hawk,  and  this  story  of  his  vision  will  he  never  lightly  tell  to  any  man. 


See  “  Songs  of  the  Dakotas,”  page  60,  and  “  Introduction  to  Pawnee  Songs,”  page  96. 

[159] 


THE  INDIANS'  BOOK 


NAI  NO-OTZ 


SONG  OF  HEALING 


Taeva  nama-eyoni, 
Tze-ihutzittu  nama-eyoni. 


By  night  I  go  on  my  way  unseen. 

Then  am  I  holy. 

Then  have  I  power  to  heal  men. 


WAWAHI  NO-OTZ 


Swinging-Song  (a  very  old  song) 


Sung  and  told  by  Chief  Nahios-si  (Three  Fingers) 

N  olden  times,  long,  long  ago,  the  Cheyennes  used  to  make 
swings  of  strips  of  buffalo-hide  which  they  would  hang 
from  the  boughs  of  trees.  Men,  women,  and  children 
would  swing  in  pairs,  standing  face  to  face  in  the  swing, 
his  feet  braced  against  those  of  the  other.  The  on¬ 
lookers  sat  around  them,  and  all  the  people  sang  while  the  swings 
moved  to  and  fro.  They  sang  to  the  wood-rats,  bidding  them  come ; 
for  in  those  days  the  Cheyennes  used  to  eat  the  wood-rats,  and 
they  were  hard  to  catch.  They  called  the  rats  “  timber-men,"  and 
so  they  sang : 


ILU 

each  with 


WAWAHI  NO-OTZ 


SWINGING-SONG 


Huc/zdjeho  niochdzil 
Huc/idjeho  nioc/zdzi'! 
Mata-etanio-o 
Ini-stoni-wahno-tziyo, 
Ehenowe,  h’m-h'm-h’m  ! 


Come,  ye  wood-rats,  here  to  me  I 
Come,  ye  wood-rats,  here  to  me  I 
Now  the  timber-men  draw  near. 
Hither  stealing,  creeping  hither, 
Now  I  hear  them.,  h'm-h'm-h'm  I 


MESHIVOTZI  NO-OTZ 


Baby-Song  (Lullaby) 

Sung  by  Wihunahe  (Chief  Woman) 


MESHIVOTZI  NO-OTZ 


BABY-SONG 


Meshivotzis-o — 
he-ye, 

Naotziyo  tsiso 

A-ha,  h'm. 


Little  good  baby, 
he-ye. 

Sleepy  little  baby. 

A-ha,  h'm. 


[  1601 


The  Pipe  of  Friendship 
(Hiamovi:  High  Chief) 


CHEYENNE 


NU-U-SINIM  NO-OTZ 

Hand-Game  Songs 

N  winter  the  Cheyennes  often  meet  in  little  companies 
to  play  the  “  hand-game.”  The  game  is  held  in  a  tipi, 
which  is  lit  by  a  central  fire  constantly  replenished  with 
fresh  logs.  The  company  sit  on  the  ground,  with  four  or 
five  leaders  of  the  singing  grouped  around  a  drum  and  the  rest 
lined  about  the  circular  wall.  The  game  opens  with  a  prayer,  de¬ 
livered  by  the  one  who  may  be,  for  the  night,  the  leader  in  the 
game.  In  some  tribes  the  hand-game  is  itself  a  religious  ceremony, 
but  this  is  not  the  case  among  the  Cheyennes.  With  the  Cheyennes, 
the  details  of  the  game  may  change  with  each  night  of  the  playing, 
so  there  is  always  a  leader  to  direct  the  game.  This  leader  has  usually 
beheld  in  a  dream  the  arrangement  of  the  game — the  placing  of 
the  tally-sticks,  and  other  details — or  he  has  been  taught  by  some 
spirit  how  the  game  is  to  be  played  on  the  night  of  his  leadership, 
for,  with  the  Indian,  even  sports  are  divinely  directed.  Said  an 
educated  half-breed :  “  I  have  been  to  school,  and  I  have  lived  among 
white  men,  but  I  never  saw  any  people  so  religious  as  my  own. 
My  people  begin  all  things,  even  their  games,  with  prayer.” 

The  opening  hand-game  prayer  asks  that  the  game  may  be 
played  as  divinely  revealed,  and  that  to  the  people  may  be  given 
happiness,  good  luck,  health,  welfare,  and  old  age.  With  simple 
dignity,  the  leader  tells  of  his  dream,  and  gives  his  directions  for 
the  game.  In  making  the  preparations  for  the  game,  he  accom¬ 
panies  his  acts  with  the  saying,  “So  was  it  seen  by  me,”  or,  “So 
I  heard  it  commanded,”  or,  again,  “According  to  the  Spirit.” 

In  a  general  way,  the  game  is  played  as  follows :  The  players 
are  divided  into  two  sides,  the  object  being  for  one  side  to  guess  in 
whose  hands,  on  the  Opposite  side,  are  held  certain  little  sticks  or 
counters.1  The  counters  are  often  carved  in  the  form  of  a  little 
black  bird,  probably  a  crow,  symbol  of  good.  If  all  the  guesses 
in  one  round  have  been  right,  the  hiding  side  must  give  over  the 


1  See  “  Arapaho  Hand-Game  Song/'  page  201. 

t  161  ] 


THE  INDIANS'  BOOK 


counters  to  the  guessing  side,  and  the  guessers  now  become  the 
hiders.  With  the  winning  of  the  counters  from  one  side  to  the  other, 
there  comes  a  cry  of  triumph  from  the  men,  a  trilling  halloo  of  vic¬ 
tory  from  the  women,  and  laughter  from  alh  The  drum-beat  changes, 
a  dance-song  is  struck  up,  and  then  the  tipi  is  filled  with  the  rhythm 
of  dancing  feet  and  jangling  ornaments. 

During  the  whole  game  the  hand-game  songs  are  sung,  while 
all  the  players  wave  their  closed  hands  to  and  fro  in  time  to  the 
song.  The  hands  are  often  thrown  out  or  crossed  in  the  air,  while 
mystic  motions  are  made  to  confuse  the  guesser,  or  to  blight  his 
power  of  divination. 

At  the  close  of  the  game  there  is  a  dance,  and  then  the  feast  is 
brought  in  by  the  women.  Before  eating,  the  company  is  silent 
while  a  man  rises  and  delivers  a  long  prayer  for  the  welfare  of  the 
people.  When  the  feasting  is  over,  the  guests  quietly  disperse 
without  formality,  disappearing  through  the  tipi-flap.  In  a  few 
short  moments  the  gay  hand-game  company  has  melted  away 
into  the  darkness. 


THE  MESCAL  RELIGION 

HE  pellote  (peyote),  or  “mescal-button"  is  the  top  of 
a  cactus  that  grows  in  Mexico  and  in  the  southwestern 
borderland  of  the  United  States.  In  shape  it  is  a  disk 
from  an  inch  to  an  inch  and  a  half  in  diameter,  and  per¬ 
haps  a  quarter  of  an  inch  thick.  When  eaten  in  sufficient  quantity 
the  mescal  has  an  effect  which,  though  quite  distinct,  is  more  like 
that  of  hashish  than  of  anything  else  known.  It  produces  a  strange 
feeling  of  lightness,  dispels  pain  and  fatigue,  and  causes  visions 
of  marvellous  beauty  and  grandeur. 

The  religion  that  has  the  mescal  for  its  principal  symbol  is  a 
very  ancient  Indian  faith  that  probably  had  its  origin  with  the 
Indians  of  Mexico.  In  the  United  States  it  was  formerly  known 
only  to  the  southern  plains  tribes,  but  it  has  spread  from  the  Co- 
manches  and  Kiowas  to  the  Arapahos  and  Cheyennes,  and  on  up 
through  Oklahoma  till  now  the  mescal  rites  are  performed  as  far 

H62] 


CHEYENNE 


north  as  Winnebago,  in  Nebraska.  The  ancient  faith  has  undergone 
change,  and  the  mescal  religion,  as  it  is  practised  to-day,  may  al¬ 
most  be  called  a  modern  cult.  Its  leaders  are  mostly  the  younger 
men  who  have  never  known  the  old  life  of  the  buffalo-hunting  days. 
Many  are  drawn  to  this  faith  through  the  belief  that  its  followers 
are  cured  of  consumption1  and  drunkenness-— the  two  dread  enemies 
of  the  Indian,  which  were  unknown  till  the  coming  of  the  white 
man. 

In  the  ancient  faith  the  mescal-button  was  the  symbol  of  the 
sun,  which  is  the  manifestation  of  the  source  of  life.  Indeed,  the 
button  itself  resembles  the  sun,  for  it  has  a  circle  in  the  centre  which 
is  surrounded  with  white  spots  like  sun-rays. 

Like  many  Indian  rites,  the  mescal  ceremony  begins  at  night 
and  lasts  until  daybreak.2  As  performed  among  the  Southern 
Cheyennes,  it  is  held  in  a  tipi,  which  is  consecrated  to  this  use,  and 
must  always  be  scrupulously  clean.  In  the  centre  is  a  crescent  of 
earth  some  six  inches  high,  which  curves  around  a  fire  built  of 
sticks  so  arranged  that  the  ashes  as  they  fall  form  a  second  crescent 
within  the  other.  A  man  tends  this  sacred  fire  all  night.  At  the 
centre  of  the  earth-crescent,  upon  a  little  cross  of  sage-twigs,3  lies 
the  vision-impelling  mescal,  the  symbol  of  the  rite.  The  leader  of 
the  ceremony  sits  opposite  this,  in  the  place  of  honor,  facing  the 
opening  of  the  tipi.  In  his  hands  he  holds  the  emblems  of  his 
office,  a  rattle,  a  wand,  and  a  fan  of  eagle-plumes.  All  around  the 
tipi  sit  motionless  blanketed  forms.  Four  is  the  sacred  number 
in  this  religion,  and  four  mescal-buttons  are  ceremonially  eaten 
during  the  rite.  Each  ritualist  brings  with  him  his  own  supply, 
and  it  is  often  customary  to  take  more  of  the  mescal-buttons 
than  the  ceremonial  four.  There  is  a  solemnity  in  the  atmosphere 
that  awes  the  on-looker.  Intense  consecration  seems  to  burn  like 
a  holy  fire.  Some  sit  with  heads  bowed,  but  most  of  the  devo¬ 
tees  gaze  fixedly  upon  the  mescal.  Every  now  and  then  a  man 

1  Indeed,  it  has  been  claimed  by  a  medical  authority,  S.  F.  Landry,  that  the  mescal  is  a 
very  powerful  cardiac  and  respiratory  stimulant,  especially  useful  in  cases  of  asthma. 

2  The  recorder  has  made  no  exhaustive  study  of  the  mescal  religion,  and  describes  only 
that  which  she  has  seen. 

3  The  cross  is  an  ancient  Indian  symbol,  in  this  case  meaning  a  star.  For  the  significance 
of  sage,  see  "  A  Holy  Story,”  page  38. 


IS 


[163] 


THE  INDIANS’  BOOK 


will  slowly  draw  his  blanket  over  his  head  and  sink  back  to  re¬ 
ceive  the  vision. 

All  night  they  singt  each  one  in  his  turn,  the  singer  shaking  his 
rattle,  while  the  man  next  to  him  beats  upon  a  small  buckskin  drum. 
Each  song  is  sung  four  times.  At  the  close  of  the  ceremony,  the 
worshippers  go  down  to  the  river  and  bathe  ;  for  cleanliness  is 
enjoined  by  the  mescal  faith.  The  rest  of  the  day  is  passed  in  . 
sleep. 

The  mescal  songs  are  all  esoteric.  They  contain  no  words,  the 
meaning  usually  being  known  only  to  the  members  of  the  same  lodge 
or  fraternity,  or  sometimes  only  to  the  singer  or  to  the  man  who 
made  the  song.  Many  men  have  their  own  songs,  inspired  by  some 
spiritual  experience.  The  mescal -songs  are  invocations  that  the 
truths  of  the  universe  may  be  revealed.  The  poetry  and  mysticism 
of  this  cult  supply  to  the  modern  Indian  the  spiritual  uplift  known 
in  the  old  days  to  those  who  went  apart  to  fast  and  learn  of  the 
spirits  what  should  be  their  guiding  “medicine”  through  life.1  But 
it  is  possible  that  the  physical  effect  of  the  mescal  may  in  time  fulfil 
the  forebodings  of  the  older  Indians  who  fear  that  visions  thus  pro¬ 
duced  can  bring  to  their  people  little  good. 


MATA  NO-OTZ 

Song  of  the  Mescal  Rite 

Sung  and  told  by  Mowihaiz  (Magpie),  nephew  of  High  Chief  and  of  Wolf-Robe,  and  leader 
of  the  mescal  religion  among  the  Southern  Cheyennes 

THER  religions  teach  men  what  to  believe,  but  in  this 
religion  each  man  learns  truth  for  himself.  God  has 
given  the  mescal  to  man  that  through  it  man  might 
know.  There  is  a  word  that  comes  at  the  end  of  mescal- 
songs  and  that  word  means  “the  road.”  Each  man’s  road  is 
shown  to  him  within  his  own  heart.  When  he  eats  the  mescal  he 
sees  the  road;  he  knows;  he  sees  all  the  truths  of  life  and  of  the 
spirit. 

‘See  “Songs  of  the  Dakotas,”  page  60,  and  Winnebago  “Song  to  the  Earth  -  Maker,” 
“Medicine-Song,”  and  “A  True  Story,”  pages  253.  256,  262. 

1  164] 


CHEYENNE 


You  have  seen  the  mescal  lodge.  The  round  tipi  is  the  sun, 
and  the  half-circle  of  earth  is  the  moon.  The  star  of  sage  on  which 
the  mescal  rests  is  woman,  for  the  earth  is  woman,  mother  of  all 
things.  The  fire  of  sticks  is  man,  and  the  flame  and  smoke  are 
the  spirit. 

You  ask  why  I  wear  purple.  Purple  is  my  color.  I  choose  it 
because  it  means  the  spirit,  it  means  the  breath.  The  breath 
of  man  and  of  every  living  thing  is  purple.  You  can  see  it  in  the 
cold.  So  is  smoke  purple.  Breath  and  smoke  are  the  spirit.  That 
is  why  I  have  taken  purple  for  my  color.  So  will  another  man 
take  green,  to  mean  the  green  earth.  All  things  in  the  mescal 
ceremony  have  their  meaning.  The  gourd-rattle  is  the  sun;  the 
tuft  of  red  feathers  at  the  end  of  the  rattle  is  flame,  spirit;  the  handle 
is  “the  road”;  the  beaded  decoration  on  the  handle  of  each  rattle  is 
different,  because  each  man's  road  is  different,  and  what  the  man 
wears  or  uses  must  speak  of  himself  and  of  what  he  has  himself  seen 
or  heard. 

The  mescal  takes  from  us  sickness  and  pain.  It  purifies  us. 
Through  it  we  may  come  to  know  all.  We  eat  the  mescal  because 
we  want  to  see — we  want  to  know — we  want  to  know  God. 

The  song  that  I  have  sung  for  you  is  the  one  that  I  sing  last 
in  the  ceremony,  just  before  dawn.  It  means  the  eagle  who 
spreads  his  wings  and  soars  aloft  and  breathes  deep  with  the  joy 
of  well-being.  The  eagle  is  myself.  God  has  given  me  that  bird. 
I  have  taken  the  eagle  for  my  bird  because  he  is  greatest  of  all 
birds.  He  is  the  father,  and  all  little  birds  are  his  children.  He 
is  strong,  for  he  flies  where  no  man  can  reach  him.  He  is  clean, 
for  he  spreads  his  wings  when  he  eats  that  no  dirt  may  fall  upon 
his  food,  and  he  washes  his  claws  in  the  mud  of  streams.  In  his 
feathers,  white  and  black,  we  see  day  and  night.  That  is  why  I 
carry  the  fan  of  eagle-feathers.  So  this  song  is  the  eagle,  breathing 
deep,  rejoicing  in  his  strength.  I  sing  it  just  at  sunrise. 


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I 


THE  ARAPAHOS 


HE  Arapahos  are  allies  of  the  Cheyennes,  and,  like  the 
Cheyennes,  are  a  northern  Algonquian  tribe.  Early 
in  the  last  century,  about  the  year  1800,  both  tribes 
were  living  in  the  Black  Hills  region.  The  Arapahos 
had  probably  pushed  their  way  through  alien  peoples  east  of  the 
Missouri  and  continued  their  migrations  on  into  Wyoming  until 
they  reached  and  occupied  the  lands  about  the  head-waters  of 
the  Arkansas  and  Platte  rivers.  Their  range  practically  extended 
from  the  Rio  Grande  to  the  Yellowstone. 

The  Arapaho  tribe  falls  properly  into  five  divisions,  each  of 
which  is  recognized  by  the  others  as  an  integral  part  of  the  nation. 
The  Gros  Ventres  are  reckoned  as  the  fifth  of  these  sub-tribes. 
Originally  these  divisions  were  separate  entities,  though  they  al¬ 
ways  were  allied  and  sometimes  closely  associated,  but  gradually 
all  were  absorbed  by  the  Hinanatina,  or  Arapaho  people  proper. 

As  with  the  Cheyenne,  the  Arapaho  nation  underwent  a  distinct 
cleavage  into  a  Northern  and  a  Southern  branch,  a  division  which, 
according  to  ethnologists,  seems  to  have  occurred  before  the  tribe 
was  placed  on  reservations.  The  Northern  Arapahos  share  their 
reservation  in  Wyoming  with  the  Shoshones,  while  the  Southern 
Arapahos  are  affiliated  with  the  Southern  Cheyennes,  with  whom 
they  have  received  land  in  severalty  in  Oklahoma. 

In  olden  times  the  Arapahos  lived  altogether  in  tipis  of  buffalo- 
skin,  and  depended  upon  the  buffalo  almost  exclusively  for  the 

NOTE  FOR  PRONUNCIATION  OF  ARAPAHO  TEXT 

Unless  otherwise  indicated,  vowels  have  the  Continental  sotmd,  and  consonants 
the  English. 

ch,  in  italic,  is  a  guttural,  like  ch  in  German. 

a  has  the  sound  of  the  same  character  in  German. 

[  1971 


THE  INDIANS’  BOOK 


necessities  of  life.  Unlike  many  of  the  plains  tribes,  they  practised 
little  or  no  agriculture,  and  accordingly  had  no  fixed  settlements 
to  which  to  return  for  planting  or  harvesting. 

Though  in  the  border  warfare  with  white  settlers,  their  neighbors 
the  Cheyennes  and  Kiowas  were  classed  as  hostiles,  the  Arapahos 
remained  for  the  most  part  neutral  and  unaggressive.  They  are 
an  imaginative  and  very  devoutly  religious  people.  The  religion 
of  the  Spirit-Dance  (Ghost-Dance)  was  received  by  them  with  par¬ 
ticular  fervor,  and  the  Arapahos  are  to-day  among  the  few  tribes 
who  still  perform  the  ancient  and  deeply  emblematic  religious  cere¬ 
monial  known  to  white  men  as  the  Sun-Dance. 

Said  a  young  Arapaho,  **  Our  fathers  and  mothers  knew  religion, 
even  though  not  the  same  as  what  the  white  people  teach.” 


HASSE-HI  NAAD 

Song  of  the  Buffalo-Hide  Ceremony  (Sun-Dance  Song) 

I 

HIS  is  a  prayer  that  Ichebeniatha  (One-On-High),  may 
take  pity  on  the  people.  In  this  song  it  is  the  sun  who 
is  addressed  as  Father,  for  father  and  grandfather  are,  to 
the  Indian,  terms  of  veneration,  respect,  and  love. 

The  ceremony  is  commonly  called  by  the  whites  the  Sun-Dance. 
The  Arapaho  word,  “Hasse,”  means  rawhide,  and  refers  to  the 
buffalo  -  hide,  which  is  an  important  part  of  the  ceremony.  Ac¬ 
cording  to  Dr.  George  A.  Dorsey,  of  the  Field  Columbian  Museum, 
Chicago,  the  ceremony  is  known  as  u  Hassehawu,”  the  Ceremony 
of  the  Offerings’  Lodge.1 

HASSE-HI  NAAD  SONG  OF  THE  BUFFALO-HIDE  CEREMONY 

Hedawunaneina  O  may  he  take  pity  on  us, 

Hishish  nisana  !  Father  Sun, 

O  my  Father  ! 


See  page  151  for  songs  of  the  same  ceremony  among  the  Cheyennes. 

I  >98  ] 


ARAPAHO 


HASSE-HI  NAAD 

Song  of  the  Buffalo-Hide  Ceremony 
II 

Sung  by  Chief  Nakos  (Sage) 

This  is  the  last  song  in  the  ceremony*  While  it  is  sung  the 
people  run  hither  and  thither  in  symbol  of  dispersing  to  the  four 
ends  of  the  earth.  At  the  close  of  the  song  they  shake  their  blankets 
and  garments  to  symbolize  the  casting  from  themselves  of  all  evil. 


HACZ/E-HI  NAAD,  JAOfU  NAAD* 1 


Wolf-Song,  or  Comanche-Song 
Sung  by  Chief  Nakos  (Sage) 


T  is  the  duty  of  certain  warriors  to  go  ahead  of  the  war- 
party  and  spy  on  the  enemy,  and  then  to  return  and 
give  the  signal  for  the  attack.  These  warriors  are  called 

wolves,  for  they  are  like  wolves,  prowling  about  the 
enemy's  camp,  moving  by  night,  and  falling  on  the  foe  unawares. 
This  is  one  of  the  oldest  songs  of  the  Wolf  warriors.  Such  songs 
are  also  called  Jac/zu  -  naad,  Comanche  -  Songs,  because  in  former 
days  the  Comanches  were  the  foes  of  the  Arapahos,  and  “Co¬ 
manche”  came  to  be  a  common  word  for  enemy. 


HACtfE-HI  NAAD 

Nah'ni  chita-ini, 

Hitha  bUbian  niyihana  ; 
Hani  h'dtinahawuni, 

Haka  nihin. 


WOLF-SONG 

Look,  O  maid,  behold  me, 

I  am  going  far  away 
Upon  the  war-path  roaming  ; 

And  your  words  have  caused  the  parting, 
Long  shall  be  the  time 
Ere  again  you  see  me. 


See  “Cheyenne  Songs  of  Victory/ 
[  199] 


page  155. 


THE  INDIANS'  BOOK 


KAINAWAD  NAAD1 


Song  of  the  Spirit-Dance  (Ghost-Dance  Song) 

Sung  by  many  Arapahos,  and  explained  by  Chief  Nakos  (Sage) 

ONG  ago  all  was  water,  and  the  Turtle  went  to  the  bottom 
of  the  water  and  brought  up  a  bit  of  clay.  Out  of  this 
clay  the  world  was  made,  and  thereafter  the  Turtle 
became  a  symbol  of  the  earth.  The  ridge  on  his  back 
is  the  mountain-line,  and  the  marks  are  streams  and  rivers.  He 
himself  is  like  a  bit  of  land  in  the  midst  of  water. 

The  Turtle  Waters  are  yellow,  and  through  these  must  the 
spirit  pass  to  enter  the  spirit-world.  The  man  who  falls  entranced 
during  the  Spirit-Dance  knows  nothing  until  he  finds  himself  upon 
the  brink  of  the  yellow  waters.  In  this  song  the  dreamer  tells 
how  he  waded  through  the  Turtle  Lake  even  to  the  spirit-world. 

The  song  was  composed  by  Hanacha  -  thiak  (Sitting  Buffalo- 
Bull),  an  Arapaho  leader  in  the  Spirit-Dance. 


KAINAWAD  NAAD 


SONG  OF  THE  SPIRIT-DANCE 


Seniesana 

Niha-nawu, 

Seniesana 

Niha-nawu, 

Nanai  baeno  nidjieh-hi, 
Niha-nawu, 

Nanai  baeno  nidjieh-hi, 
Niha-nawu. 


Wading  passed  I  through 
Yellow  waters. 

Wading  passed  I  through 
Yellow  waters. 

Ah,  'twas  e'en,  e'en  the  Turtle  Lake — 
Yellow  waters — 

Ah,  'twas  e'en,  e'en  the  Turtle  Lake — 
Yellow  waters. 


1  See  “History  of  the  Spirit-Dance,”  page  41.  Compare  songs  of  the  Spirit-Dance,  Dakota, 
and  Pawnee,  pages  47-48,  114-116. 


ARAPAHO 


HO  NAWAD  NAAD1 


Crow-Dance  Song 


The  Crow-Dance  is  a  ceremony  that  the  Arapahos  hold  in  con¬ 
nection  with  the  Spirit-Dance.  The  crow  is  the  messenger  of  the 
Father.2  As  black  paint  is  symbolic  of  goodt  so  is  the  black  crow 
a  symbol  of  good.  For  the  crow  is  a  harmless  bird;  he  kills  nothing; 
even  little  birds  can  drive  him  away.  In  this  song  the  crow  is  the 
symbol  of  the  Father. 


HO  NAWAD  NAAD 

Hesunani'  ho-hu 
Bahinahnit-ti, 

Hesttnani’  no  ! 

A  e-yo  he-ye  he-ye  yo  ! 


CROW-DANCE  SONG 

Oh,  the  Crow,  our  Father, 
He  is  all  in  all. 

Oh,  our  Father  Crow ! 

A  e-yo  he-ye  he-ye  yo  1 


NAKAHU  NAAD 


Lullaby 


Sung  by  Wageoh  (Maud  Shawnee),  Nawadek  (Susie  Sage),  Nabilase  (Jessie  Sage),  Gelbini 

(Cappie  Webster) 

NAKAHU  NAAD  LULLABY 


Cheda-e, 
Nakahu-kahu, 
Be-be  ! 


Go  to  sleep, 

Baby  dear,  slumber. 
Baby  ! 


GOCHOTI  NAAD3 

Hand-Game  Song 


HE  Indian  tarns  his  horses  loose  to  graze  where  they 
may  find  pasture.  When  he  wants  to  use  his  horses 
he  mast  hant  them  ap  and  drive  them  home.  Some¬ 
times  the  horses  wander  far  away  and  the  man  mast  be 
ap  before  daylight  to  bring  them  in  for  a  day's  work,  or  else  hunt 

1  See  “  Pawnee  Song  of  the  Spirit-Dance/'  page  115. 

2  In  this  particular  song  it  is  the  prophet  of  the  Spirit-Dance  religion  who  is  alluded 
to  as  “the  Father." 

i  See  “  Cheyenne  Hand-Game  Songs,"  page  161. 

[201] 


i 


THE  INDIANS’  BOOK 


them  the  day  before.  White  men,  too,  who  cannot  afford  to  buy 
feed,  turn  their  horses  loose  in  this  way. 

This  Hand-Game  Song  refers  to  the  search  for  the  sticks  hidden 
in  the  hands  of  the  players. 

GOCHOTI  NAAD  HAND-GAME  SONG 


Natinac/tabena, 
Ni  nananaec/iana  ! 
Ni  nananaecAana  ! 
Natinac/iabena, 


Now  I  go  to  seek  my  horses  ! 

So  here  I  stand  and  look  about  me  ! 
So  here  I  stand  and  look  about  me  ! 
Now  I  go  to  seek  my  horses  ! 


HICHAAO/UTHI1 


Song  of  the  Club  Society 

Sung  and  told  by  a  member  of  the  society 


The  melody  of  this  song  is  old,  and  it  is  used  by  the  Cheyennes 
as  well  as  by  the  Arapahos  with  some  slight  changes  to  fit  the  Chey¬ 
enne  words.  But  these  words  were  heard  in  sleep  by  an  Arapaho 
brave  of  the  Club  Society.  In  dream  there  appeared  to  him  two 
Arapaho  warriors,  White-Horn  and  Running- Whirlwind,2  who  had 
both  been  killed  by  the  Pawnees,  and  they  sang  this  song : 


HICHAACtfUTHI 

Nananina  Nanakunithana 
Nananina  Neyac/iat-Chawaat 
Cha  anitana. 


SONG  OF  THE  CLUB  SOCIETY 

Behold,  I  am  White-Horn, 

Behold,  I  am  Running-Whirlwind, 
We  live,  we  live. 

Behold  us  ! 


1  See  “  Organizations  of  the  Plains  Indians,”  page  31. 

2  The  whirlwind,  the  thunder,  the  sun,  and  other  forces  of  nature  are  personifications  of 
divine  power.  As  such  they  are  spirits,  and  the  name  Running-Whirlwind  might  hold  much 
significance  to  the  Indian.  Most  Indian  names  have  deeper  meaning  than  is  conveyed  by  the 
actual  word. 


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KIOWA  TITLE-PAGE 

The  design  is  of  a  Kiowa  cradle-board  with  covering  of  bead- 
work. 

The  lettering  and  decorations  are  by  Hinook  Mahiwi  Kilinaka 
(Angel  De  Cora).  The  string  of  beads  is  such  as  children  wear, 
and  is  here  used  to  typify  childhood. 


gr  i '  ;7 

i  , 

:  -•S-'T  i  \ 


HQA^-HJTXT  AWOTA 

4>ssd  ic  dtiw  \  £oo  hr.n  /r.vc;A  .  ;o  ai  ngiasb  srfT 

.dtow 

£j}£nili3L  iv  iilfiM  dooniH  yd  3ir>  anoh*iot'sb  bna  gni-raiJal  sdT 
,«»•»  nsiblixi"  r  rfoua  2s  abasdf  io  gnhia  sdl  .(atoD  sQ  jfegoA) 
-boodbJiifc  y'iiqy;  oi  bs«u  3-rad  ai  boa 


✓ 


/ 


THE  KIOWAS 


F  all  the  plains  tribes,  perhaps  none  is  more  obscure  of 
origin  than  the  Kiowa,  or  “Gaigw xi”  as  they  call  them¬ 
selves*  Although,  according  to  some  ethnologists,  their 
language  bears  a  certain  resemblance  to  those  of  the 
Athapascan  and  Shoshonean  groups,  the  similarity  is  not  sufficient 
to  justify  the  identification  of  the  Kiowas  with  these  tribes.  For 
the  present  these  Indians  stand  apart  in  a  family  by  themselves. 

The  Kiowas  have  lived  on  the  southwestern  plains  for  more 
than  half  a  century,  but  their  earliest  home  of  which  there  is  historic 
evidence  was  around  the  sources  of  the  Missouri  and  the  Yellow¬ 
stone  rivers.  Here  they  seem  to  have  led  a  nomadic  life,  depending 
upon  game,  great  and  small,  for  their  livelihood. 

The  Kiowas  have  a  tradition  of  an  ancient  division  of  the  tribe. 
A  quarrel  arose  between  two  chiefs  over  an  antelope,  which  re¬ 
sulted  in  the  migration  of  part  of  the  tribe  from  the  river  country 
to  the  Black  Hills,  where  they  came  into  relation  with  the  Crow 
Indians  and  settled  near  them.  Then  they  pushed  southward 
again,  raiding  and  wandering  and  frequently  entering  what  was 

NOTE  FOR  PRONUNCIATION  OF  KIOWA  TEXT 

Unless  otherwise  indicated,  vowels  have  the  Continental  sound,  and  consonants 
the  English. 

The  inverted  apostrophe  after  a  consonant  signifies  an  explosive  sound,  sharper 
than  an  asperated  consonant. 

a  has  the  sound  of  the  same  character  in  German. 

n  has  the  nasal  sound,  as  in  French. 

a  in  has  the  vowel-sound  of  the  French  word,  u  main." 

Since  words  are  sometimes  changed  and  distorted  to  fit  the  rhythm  of  a  song, 
and  vowel-sounds  modified  for  euphony,  the  ear  has  been  the  sole  guide  in  writing 
the  Kiowa  song-words.  The  spelling  here  adopted  is  an  attempt  of  the  recorder  to 
reproduce  the  sounds  as  sung. 

[  221  ] 


THE  INDIANS'  BOOK 


then  Spanish  territory.  The  migrators  were  the  ancestors  of  the 
Kiowas.  But  these  Indians  believe  that  descendants  of  the  other 
ancient  branch  still  dwell  in  the  ancestral  home  about  the  head¬ 
waters  of  the  two  great  rivers. 

The  Kiowas  were  known  in  the  old  days  as  strong  fighters,  and 
were  among  the  fiercest  of  the  plains  warriors.  Their  roving  life 
brought  them  into  contact  with  other  tribes  to  a  marked  degree, 
and  alien  blood  was  frequently  absorbed  into  the  tribe  through 
the  adoption  of  captives. 

In  1867  they  forsook  the  free  life  of  the  plains  and  entered  upon 
the  reservation  in  Indian  Territory  which,  in  common  with  the 
Comanches,  they  have  since  occupied.  They  are  now  citizens, 
having  received  allotments  of  land  in  severalty  in  what  is  now 
Oklahoma.  Their  life  has  undergone  great  change.  Ill-ventilated 
frame-houses  have  replaced  the  tipi  with  its  leaping  fire  and  its 
open  flap  and  smoke-hole,  and  the  Kiowas  have  suffered  the  ravages 
of  that  foe  to  Indians  in  the  transition  state — consumption.  But 
these  people  are  industrious  and  for  the  most  part  hardy,  and  it 
is  to  be  hoped  that  discrimination  in  their  absorption  of  new  ways 
may  help  them  to  bring  something  of  the  old  vigor  into  their  new 
life. 


APIATAiV 

PIATAiV  is  the  head  chief  of  the  Kiowas.  He  is  the 
cousin  of  High  Chief,  the  Cheyenne,1  and  High  Chief  it 
was  who  brought  his  white  friends  to  the  Kiowa  coun¬ 
try  and  led  them  to  Apiatan.  The  Kiowa  chief  received 
his  guests  with  Indian  dignity  and  courtesy.  The  purpose  of  the 
visit  and  the  mission  of  the  book  were  explained  to  him,  and  he 
was  asked  to  contribute  something  to  represent  the  Kiowa  people. 
He  sang  the  oldest  song  he  knew,  an  ancient  lay  with  archaic  words, 
and  then  some  of  his  Indian  guests  also  offered  songs.  It  is  owing 
to  High  Chief's  full  explanation  to  the  Kiowas  of  the  purpose  of 
the  book,  and  to  the  interest  of  Apiatan,  that  all  the  songs  contrib- 


1  See  Wihu-Hwaihu-o-usz,  or  Hramovi  (High  Chief,  or  High  Wolf),  page  149. 

[222] 


Apiatan  (Wooden  Lance),  Head  Chief  of  the  Kiowas 


KIOWA 


trted  then  and  afterwards  by  the  Kiowas  are  some  of  the  oldest 
now  remembered  by  the  tribe*  At  the  mid-day  meal  the  white  visi¬ 
tors  were  given  the  place  of  honor  facing  the  opening  of  the  tent,  and 
were  treated  with  the  marked  courtesy  typical  of  Indian  hospitality. 
Afterwards  Apiatan  complied  with  the  wish  of  his  new  friends  and 
prepared  himself  to  be  photographed.  He  voluntarily  put  on 
the  dress  worn  in  the  ceremony  of  the  mescal  religion,  of  which  he 
is  a  leader — a  beautiful  costume  of  buckskin  decorated  with  fine 
bead-work  designs  symbolic  of  the  mescal  faith.  In  his  hand  he 
carried  a  fan  of  eagle-feathers,  an  emblem  of  his  high  office.  Thus 
clothed  he  was  an  imposing  figure,  the  earthly  chief  of  his  people 
and  their  spiritual  leader. 

Apiatan  is  a  man  of  intelligence  and  strong  personality.  At  the 
time  when  the  Ghost-Dance  movement* 1  reached  the  Kiowas,  Apiatan 
was  stricken  with  grief  at  the  loss  of  a  dearly  loved  son.  Hearing 
that  this  religion  promised  communion  with  the  dead,  the  Kiowa 
chief  determined  to  see  the  Prophet  and  learn  more  of  the  new 
faith.  Apiatan  found  the  Father,  but  only  to  be  disappointed, 
and  to  return  to  his  people  unconvinced.  This  checked  the  ardor 
of  the  Ghost-Dance  movement  among  the  Kiowas,  in  whose  lives 
the  mescal  religion,  long  known  to  them,  is  now  the  strongest  spirit¬ 
ual  influence.2  As  mescal  leader,  Apiatarc  receives  a  loyalty  from 
his  people  that  is  second  only  to  their  faith  in  his  judgment  and  in 
his  ability  to  guard  their  welfare. 


GOMDA  DAAGYA 

Wind-Songs 

Told  by  Owik'uyain  (The  Home-Comer) 


~  —  ~T)  HERE  are  different  kinds  of  war-songs.  Gomda  Daagya 

T  (Wind-Songs)  are  war-songs  made  while  the  men  are  on 
the  war-path,  and  are  sung  by  those  at  home  who  think 

. _  of  the  distant  warriors,  or  by  the  men  on  the  war-path 

who  think  of  their  loved  ones  at  home.  As  a  mother  sings  a  lullaby 
to  the  child  in  her  arms,  even  so  she  sings  to  the  absent  son  far 


1  See  “  History  of  the  Spirit-Dance,”  page  41. 

2  See  “  The  Mescal  Religion  ”  and  “  Song  of  the  Mescal  Rite,”  pages  162-165. 

[223] 


THE  INDIANS'  BOOK 


away.  “Ah,  my  poor  boy  !”  might  she  croon,  “  Alone  on  the  prairie 
— how  hard  are  thy  days !”  So  might  the  maiden  sing,  thinking  of 
her  lover;  so  might  the  young  warrior  sing,  thinking  of  the  maid.1 

Such  songs  are  called  Wind-Songs  because  they  are  songs  of 
loneliness  and  longing  like  the  open  prairie  where  there  is  only  the 
sweep  of  the  wind.3 

GOMDA  DAAGYA 
Wind-Song 


Very  ancient  song  ;  words  archaic 


I 

Sung  by  Apiatan  (Wooden  Lance) 


GOMDA  DAAGYA 


WIND-SONG 


A-doguonko  do-peya  kuyo, 
O  a-dogttonko  do-peya  kuyo, 
Kionte-go-k'ian  etbonholgon. 
Ayi-ya  on-pali,  on-dekia. 


Idlers  and  cowards  are  here  at  home  now, 

Whenever  they  wish,  they  see  their  be¬ 
loved  ones. 

Oh,  idlers  and  cowards  are  here  at  home 
now. 

Idlers  and  cowards  are  here  at  home  now, 

But  the  youth  I  love  is  gone  to  war,  far 
hence. 

Weary,  lonely,  for  me  he  longs. 


GOMDA  DAAGYA 


Wind-Song 


II 


Sung  by  T‘e-ne-t‘e  (Eagle  Chief) 


GOMDA  DAAGYA 


WIND-SONG 


Pako  e’khanda, 

Pako  e'k'ianda, 

Pako  e’k'ianda, 

Ayi  apo 

Hayi  ankom  oyom  giie. 


I  have  but  one  love, 

I  have  but  one  love, 

I  have  but  one  love. 

And  he  is  far  away, 

On  the  war-path,  e-ye,  e-ye  ! 
Lonely  are  the  days  and  weary. 


1  See  foot-note  No.  3,  page  102,  also  page  453. 

2  See  “  The  War-Path,”  page  154. 

[224] 


KIOWA 


GOMDA  DAAGYA 
Wind-Song 


A  very  old  song  ;  some  words  archaic- 


III 


Sang  and  told  by  Sah-mount  (Samon ) 


A  group  of  young  men  are  on  the  war-path.  They  are  well¬ 
born,  rich  in  love  and  in  the  goods  of  the  world.  Yet  they  are 
pining,  silent,  and  forlorn,  overcome  with  homesick  longing.  Then 
one  of  the  war-party,  a  poor  young  man  with  never  a  sweetheart  to 
mark  his  absence,  upbraids  the  drooping  warriors,  saying  that  he 
should  be  the  one  to  pine,  for  no  one  misses  him.  But  these  others 
who  have  loved  ones  thinking  of  them — they  should  sing  and  be 
glad! 

GOMDA  DAAGYA  WIND-SONG 


Agulkide  dogul-ongu, 
Ambo/tpoya.  ambonpoya 
Dogya-hi  ! 

Agulkide  dogul-ortgu, 
Ambonpoya,  dogya-hi  ! 

Nokon  honde  imp'oya  tont'-o-no 
Yai-dahe-ba  kuyo  ! 


O  you  warriors,  you  have  loved  ones 
Longing  for  you,  longing  for  you ; 
Rich  are  ye. 

O  you  lovers,  you  have  maidens 
Longing  for  you  ;  none  have  I. 
Wherefore  droop  ye  in  silence,  so  down 
cast  ? 

Cheer  your  hearts  with  song,  ho  ! 


KOALDA  DAAGYA 

Begging-Song 

Sang  and  told  by  Potine  (White  Beaver) 

Sometimes  twenty  or  thirty  children  go  at  night  to  the  tipi  of 
some  people  who  have  one  dearly  loved  child.  They  stand  outside 
the  tipi  and  make  songs  about  the  child,  begging  that  for  love  of 

the  little  one  the  parents  will  throw  them  something  to  eat. 

[225] 


THE  INDIANS’  BOOK 


KOALDA  DAAGYA 


BEGGING-SONG 


Inhote  to  sai  talyi 
K'anhoton  atzeyuda 
Hondeta  al  ahanda 
Goa-ain, 

Ak'ainkot’na  giat’akwot  ! 


Give  os  food  we  beg  of  you, 

For  the  love  of  your  only  child. 
And  his  little  spider-pet. 

For  their  sake. 

Give,  oh  give  us  something. 

Give  ! 


T‘APK'0  DAAGYA 


Song  of  the  Antelope  Ceremony 


Sung  and  to!d  by  T‘e-ne-t‘e  (Eagle  Chief) 

HERE  was  once  a  little  boy  who  lived  with  his  old  grand¬ 
mother.  One  day  he  happened  to  lose  her  spoon — a 
wooden  spoon — for  this  was  long  ago,  when  the  people 
had  no  iron  or  other  metals.  His  grandmother  was 
angry  and  whipped  him,  and  so  the  boy  threw  himself  upon  the 
grottnd,  crying,  beside  the  wall  of  the  tipi.  There  he  lay,  sobbing, 
until  he  fell  asleep;  and  in  his  sleep  he  dreamed  a  wonderful  dream 
which  gave  him  mysterious  power,  so  that  he  would  always  be  able 
to  kill  game  in  plenty. 

Time  passed,  and  at  length  there  came  a  famine  upon  the  people; 
for  many  days  they  could  get  no  meat,  and  they  were  hungry. 
The  boy  had  grown  to  be  a  man,  yet  had  he  not  forgotten  the  secret 
power  that  he  had  learned  in  a  dream.  So  he  spoke  to  his  grand¬ 
mother  and  said ;  “  Call  all  the  people  to  my  tipi.  Bid  them  all 
come.” 

“Why,”  said  the  grandmother,  “we  are  poor,  and  we  have 
neither  wisdom  nor  power.  The  people  will  be  angry  if  we  call 
them  here,  for  there  is  no  help  in  us.” 

The  young  man  himself  went  out  and  summoned  all  the  people, 
and  when  they  were  come  he  took  his  seat  opposite  the  door  of  the 
tipi,  and  the  people  sat  around  in  a  circle,  as  many  as  could  find 
room  within  the  tipi,  and  the  rest  waited  outside.  The  man  made 

two  arrows,  one  of  wild-cherry,  and  the  other  of  plum-tree  wood.1 

* 

1  The  wild-cherry  tree  and  the  plum-tree  are  symbols  of  spring  and  autumn  fruitfulness, 
and  are  thus  symbols  of  plenty.  Other  details  of  the  ceremony  also  are  probably  emblematic. 

[226] 


KIOWA 


When  they  were  finished  he  stood  them  in  the  ground  before  him 
and  began  to  sing: 

“  My  grandmother  punished  me, 

I  wept  until  I  fell  asleep. 

In  dream  came  a  holy  power,  wonderful. 

Mighty  to  win  food." 

He  waved  the  arrows  in  time  to  the  song,  and  at  the  end  of  each 
verse  he  shook  them,  and  blew  upon  his  whistle  of  eagle-bone, 
“Whew!”  Down  from  the  arrows  fell  a  shower  of  antelope-fur! 
He  did  this  wonder  in  order  to  prove  to  the  people  his  power.  When 
he  had  finished  singing  he  took  his  bow  in  his  hands  and  reached 
down  to  the  edge  of  the  tipi  wall  where  he  had  thrown  himself  when 
a  child.  There  was  nothing  there  that  any  man  could  see,  yet 
the  wonderful  power  that  had  visited  the  sleeping  boy  was  still 
present;  and  so  when  he  drew  back  his  bow,  behold  an  antelope 
was  caught  in  it  by  the  horns,  and  the  man  dragged  him  forth  into 
the  light  of  the  fire  and  showed  him  to  the  astonished  people.  All 
night  long  they  sat  in  the  tipi,  singing  together  in  mystic  ceremony. 

When  morning  came  the  man  went  out  on  the  prairie  and  walked 
to  the  top  of  a  high  hill.  There  he  sat  down,  and  the  people  sat 
on  each  side  of  him,  forming  a  circle  as  before;  and  those  who  had 
come  on  horseback  gathered  outside  the  circle.  The  man  planted 
his  arrows  in  the  ground  and  sang  again  and  did  his  mystic  work. 
Then  he  gave  the  two  arrows  to  the  two  men  who  sat  opposite  to 
him,  and  they  set  off  in  opposite  directions,  carrying  the  arrows. 
The  people  followed  them  on  foot,  gradually  separating  from  one 
another  until  they  had  formed  the  half  of  a  large  circle.  Then  the 
two  leaders  stopped  and  delivered  the  arrows  to  two  horsemen, 
and  the  horsemen  rode  on,  and  other  horsemen  followed  them, 
gradually  separating  from  one  another  just  as  the  people  afoot  had 
done  until  they  had  completed  the  great  circle.  And  when  the 
arrow-bearers  met  at  the  far  side  of  the  circle  they  turned  and  rode 
back  through  the  centre  of  the  circle  till  they  came  again  to  the 
starting-point  and  delivered  up  their  mystic  arrows.  Then  all  the 
horsemen  forming  the  farther  side  of  the  great  circle  began  to  gallop 

here  and  there,  whooping  and  shouting,  to  rouse  the  game;  and 

[227] 


THE  INDIANS’  BOOK 


the  horsemen  gradually  drew  nearer,  driving  the  game  towards  the 
men  on  foot;  and  when  the  animals  were  gathered  together  the 
people  on  foot  closed  in  around  them,  and  kept  closing  in  until  the 
circle  was  small  enough  for  the  people  to  join  hands.  The  frightened 
antelopes  ran  around  inside  the  circle  until  they  became  dizzy  and 
exhausted;  then  the  people  killed  them  easily  with  tomahawks 
and  knives,  or  if  any  broke  through  the  circle  the  horsemen  outside 
caught  and  killed  them. 

So  the  people  had  meat  in  plenty  through  the  miraculous  wisdom 
taught  the  boy  in  a  dream.  Thus  originated  this  rite,  which  was 
performed  only  when  the  people  were  in  great  need.  It  came  down 
from  father  to  son  for  many  years — none  know  how  many.  It  is 
now  no  longer  used,  for  all  is  changed,  and  there  is  little  game  to 
hunt.  But  some  of  the  old  men  saw  the  ceremony  in  their  youth, 
and  it  is  well  remembered  by  the  aged  Eagle  Chief. 


T‘APK‘0  daagya 


Ton-k  ‘a n  giapowitzep  no 
Tainkyowitte  tain  hoi 
Komdombe  tonok‘o 
Tsainiya  ode  domgya 


SONG  OF  THE  ANTELOPE  CEREMONY 
(  Antelope-Song  ) 

My  grandmother  punished  me, 

I  wept  until  I  fell  asleep. 

In  dream  came  a  holy  power,  wonderful. 
Mighty  to  win  food. 


OKUM  DAAGYA 

Lullabies 


Sung  and  told  by  Owik‘uyai/1  (The  Home-Comer) 


The  Holy  Man  1  has  performed  the  ceremony  to  gather  in  the 
game,  and  the  mother  has  gone  to  kill  an  antelope.  She  has  left 
her  baby  to  the  care  of  an  old  woman,  who  soothes  the  crying  child 
with  this  song: 

I 


OKUM  DAAGYA 


LULLABY 


A-go-go 

T'oph'o  goan-kontono, 
T'anba  ok’un-balita. 


Hush  thee,  child — 

Mother  bringeth  an  antelope. 
And  the  tid-bit  shall  be  thine. 


See  “  The  Holy  Man,”  page  32. 
[228] 


KIOWA 


II 

Nonsense-Rhyme 

OKUM  DAAGYA  LULLABY 

Fpagy'mai/ite  koairc-ko,  Baby  swimming  down  the  river, 

Zotom  tonsad'l,  Driftwood  leggies,  rabbit  leggies, 

Tsainyi  tonsad’l,  Little  rabbit  leggies. 

Polainyi  tonsad’l. 


GWU  DAAGYA1 

War-Path  Song 

Sung  and  told  by  T‘e-ne-t‘e  (Eagle  Chief) 


'HEN  a  young  man  woos  a  maiden  he  brings  gifts  of  horses 
to  her  father.  The  maid  in  this  song  is  thinking  of  her 
first  lover  whose  playful  word  she  never  can  forget. 
For  the  man  who  now  seeks  to  marry  her,  offering  her 
father  his  sore-backed  ponies,  she  has  only  scorn.  So  she  waits 
for  her  first  lover. 

This  is  a  very  old  war-path  song,  and  the  words  are  not  all  in 
the  Kiowa  language  of  to-day.  It  was  often  sung  before  the  war- 
party  set  out.  The  war-leader  would  start  the  song,  and  those 
young  men  who  wanted  to  follow  him  would  join  in  the  singing. 


GWU  DAAGYA 


WAR-PATH  SONG 


Ameyaidcmhorzme 
Ain  honya  mopoiko 
Anti  ya’wut  hoyano 
Tsainko  gompaomk'o 
Eyamkom 


Ah,  I  never,  never  can  forget 

The  playful  word  you  spoke  long  since. 

This  man  who  seeks  to  marry  me, 

He  with  his  sore-backed  ponies. 

What’s  he  to  me  ! 


IS 


See  “The  War-Path,”  page  154. 


WINNEBAGO  TITLE-PAGE 

The  design  and  the  lettering  are  by  Hinook  Mahiwi  Kilinaka 
(Angel  De  Cora),  of  the  Winnebago  tribe.  The  design  represents 
a  piece  of  Winnebago  bead-work.  The  Winnebagos  are  skilled 
in  bead  and  quill  work. 


THE  WINNEBAGOS 


HE  Winnebagos  arc  a  branch  of  the  great  Siotian  family, 
yet  they  never  have  affiliated  with  its  more  warlike 
divisions.  Though  now  in  Nebraska,  in  the  early  days 
when  these  Indians  first  became  known  to  white  men 
they  were  living  in  a  fertile  and  beautiful  country  on  the  shores  of 
Lake  Michigan.  Early  travellers  have  told  of  the  almost  idyllic 
conditions  of  the  Winnebago  life  in  this  lake  country.  The  Indians 
were  hospitable  and  temperate,  “remarkably  provident ”  and  in¬ 
dustrious,  raising  crops  of  com,  beans,  squash,  and  pumpkins,  and 
fishing  in  lake  or  stream.  As  white  settlement  increased,  the 
pressure  was  such  that  in  the  year  1832  the  Winnebagos  ceded  a 
large  tract  of  country  to  the  United  States,  receiving  in  exchange 
land  to  the  west  of  the  Mississippi.  This  was  but  the  first  of  a  series 
of  cessions  and  removals  which  entailed  great  hardships  to  the 
Indians,  and  which  culminated  when  the  Winnebagos  were  moved 
against  their  will  and  at  their  own  expense  from  prosperous  homes 
in  Minnesota  to  a  desolate  Dakota  agency,  where,  because  of  their 
fidelity  to  the  whites,  they  were  in  peril  from  bands  of  desperate 
Dakotas,  and  where  the  conditions  of  the  country  were  such  that  it 
was  impossible  for  them  to  sustain  themselves  either  by  farming 
or  by  the  chase.  Such  was  their  suffering  that  within  a  year  over 
a  thousand  of  them  escaped  in  canoes  to  the  Omaha  reservation  in 

.  NOTE  FOR  PRONUNCIATION  OF  WINNEBAGO  TEXT 

Unless  otherwise  indicated,  vowels  have  the  Continental  sound,  and  consonants 
the  English. 

n  has  the  nasal  sound,  as  in  French. 

ch ,  in  italic,  is  a  guttural,  like  ch  in  German. 

The  use  of  the  hyphen,  in  Winnebago  words,  is  by  The  advice  of  an  educated 
member  of  the  tribe. 


[243] 


THE  INDIANS’  BOOK 


Nebraska,  where  they  were  fed  and  sheltered.  They  preferred  to 
be  shot  by  the  United  States  troops,  if  detected,  than  to  die  of 
starvation,  disease,  and  cold.  The  friendly  Omahas  allowed  them 
to  settle  upon  their  land.  The  Winnebagos  started  farming,  and  in 
1889  they  received  land  in  allotments;  but  since  this,  their  last 
resting-place,  was  thrown  open  to  white  settlement,  their  deteriora¬ 
tion  has  been  rapid.  It  is  now  to  be  hoped  that  an  awakened 
interest  in  the  Indians  may  help  to  revivify  this  exhausted  and  dis¬ 
couraged  tribe,  and  that  the  happy  memories  of  past  days,  deep- 
planted  in  the  hearts  of  the  old  people,  may  be  to  younger  Winne¬ 
bagos  as  seeds  for  growth  in  character  and  endurance  that  shall 
bring  to  their  future  the  strength  and  virtue  of  their  old  lake  life. 


STORIES  OF  WAK-CHUNG-KAKA  AND  WASH-CHING-GEKA 

Told  by  Chash-chunk-a  (Wave),  Nek-hu-wi-ka  (South  Wind),  and  other  Winnebagos  of 

Nebraska  and  Wisconsin 

A-O-NA,  the  Earth-Maker,  made  the  earth  and  every¬ 
thing  on  it.  He  made  a  man,  but  the  man  was  not  good. 
Ma-o-na  did  not  want  to  burn  him  up,  so  he  tossed  him 
to  one  side  and  went  on  with  his  work.  This  man  became 
Wa-cho-pi-ni-Shi-shik,  an  evil  spirit.  He  watched  Ma-o-na  at 
work,  and  everything  that  Ma-o-na  made  he  copied;  but  whereas 
Ma-o-na’s  works  were  all  good,  those  of  Wa-cho-pi-ni-Shi-shik  were 
evil.  Ma-o-na  made  the  deer  and  elk  and  buffalo;  Wa-cho-pi-ni- 
Shi-shik  made  the  huge  animals,  the  monsters  that  devoured  men. 
All  bad  things,  evil  spirits  and  the  like,  are  the  work  of  Wa-cho-pi- 
ni-Shi-shik. 

Ma-o-na  sent  his  son,  Wak-chung-kaka,  the  Foolish  One,  to  kill 
the  monsters  and  make  the  earth  fit  for  man.  But  Wak-chung-kaka 
could  not  destroy  all  the  works  of  the  evil  spirit.  Then  Ma-o-na 
sent  another  son,  Ke-chung-geka,  the  Tortoise,  but  he  was  too  fond 
of  war.  So,  too,  was  Wuh-te-huk,  the  third  son.  Last  of  all  Ma-o-na 
sent  his  youngest  son*  Wash-ching-geka,  the  Little  Hare. 

These  are  stories  of  Wak-chung-kaka  and  Wash-ching-geka. 

[2441 


WINNEBAGO 


STORIES  OF  WAK-CHUNG-KAKA,  THE  FOOLISH  ONE 

I 

'NE  day  Wak-chung-kaka  was  walking  over  a  hill  and  he 
looked  down  into  a  hollow  where  reeds  grew  talk  and 
he  thought  he  saw  a  throng  of  people  with  feathers  on 
their  heads.  The  wind  blew  through  the  reeds,  and 
Wak-chung-kaka  thought  that  the  people  danced  and  hallooed 
“Wu-wu-wu  !”  So  he  put  a  feather  on  his  head  and  went  in  among 
the  people  and  danced  and  shouted  “Wu-wu-wu!”  He  danced 
all  day  long,  till  at  evening  the  wind  dropped  and  everything  was 
still;  and  then  Wak-chung-kaka  looked  around  him  and  found  him¬ 
self  alone  among  the  reeds. 

II 

Wak-chung-kaka  was  walking  one  day  beside  the  water  when 
he  saw  a  chief  standing  there  dressed  all  in  black  with  a  shining 
disk  on  his  breast,  and  the  chief  was  pointing  across  the  water. 
He  stood  quite  still,  and  always  pointed  steadily  across  the  water. 
Wak-chung-kaka  spoke  to  him,  but  the  chief  never  moved  or  an¬ 
swered;  he  still  pointed  steadily  across  the  water.  Wak-chung-kaka 
spoke  to  him  again,  and  still  there  was  no  answer.  Four  times  he 
spoke  to  him,  and  then  at  last  Wak-chung-kaka  grew  angry  and 
said,  “I  can  point,  too,  and  I  can  point  longer  than  you.” 

So  Wak-chung-kaka  set  down  his  bundle  and  opened  it  and 
dressed  himself  all  in  black  like  the  chief,  and  hung  a  disk  on  his 
breast  and  stood  there  beside  the  chief,  pointing  across  the  water. 
But  when  he  had  stood  thus  for  a  great  time  without  moving, 
Wak-chung-kaka  began  to  be  weary  of  this,  and  he  looked  around 
at  the  chief,  and,  behold!  it  was  only  the  blackened  stump  of  a 
burned  tree  with  a  white  spot  that  the  fire  had  not  touched. 

III 

Another  time  Wak-chung-kaka  was  walking  along  the  sandy 
shore  of  a  lake,  and  when  he  came  to  a  point  of  the  shore  he  heard 

a  cry,  “Wu-wu-wu!”  He  looked  over  the  point,  but  could  see  no- 

f  245] 


THE  INDIANS'  BOOK 


body,  so  he  walked  on  till  he  heard  the  cry,  “Wu-wu-wu!"  and 
saw  a  little  cloud  of  flies  fly  up  into  the  air.  There  was  an  elk's 
head  lying  on  the  shore,  and  a  swarm  of  flies  flew  in  at  the  neck-hole 
behind,  and  then  flew  out  again  all  at  once,  Wak-chung-kaka 
stood  and  looked  at  them,  “That  must  be  good  sport,"  he  thought* 
“I  wish  I  could  do  that  too," 

A  little  fly  looked  up  at  him  and  said,  “Wak-chung-kaka,  you 
can!" 

At  once  Wak-chung-kaka  felt  himself  growing  smaller  and 
smaller,  till  he  was  no  bigger  than  a  fly,  and  then  he  easily  went  in 
at  the  hole  in  the  head  and  flew  out  again,  crying,  “Wu-wu-wu!" 
He  thought  it  was  fine  sport  to  fly  in  and  out,  in  and  out,  with 
the  swarm  of  flies.  So  the  flies  let  him  play  with  them  for  a  while, 
till  all  at  once,  when  Wak-chung-kaka  was  just  starting  to  go  in, 
he  grew  to  his  own  natural  size,  and  as  he  already  had  his  head 
within  the  elk's  head,  the  neck-hole  fitted  him  so  closely  that  he 
could  not  get  his  head  out  again. 

Wak-chung-kaka  walked  on,  wearing  the  elk's  head;  and  as 
he  could  not  see  very  well,  he  walked  into  the  lake.  The  water 
came  up  to  the  eye-holes  of  the  head,  and  Wak-chung-kaka  swam 
until  he  came  near  a  village  that  stood  beside  the  lake,  and  when 
the  pe@ple  saw  the  elk-horns  moving  along  the  water  they  said, 
“It  is  a  water-spirit;  let  us  offer  him  gifts."  For  there  are  spirits 
in  the  ground,  under  the  water,  and  in  great  springs  of  the  hills, 
and  the  spirits  often  look  like  elk  or  buffalo. 

So  the  people  brought  tobacco  and  beads  and  laid  them  on 
the  shore  before  Wak-chung-kaka,  and  he  stayed  in  the  water; 
and  the  young  people  prayed  to  him,  “Spirit,  grant  us  long  life!" 
and  the  old  people  prayed,  “Long  life  for  our  children!"  and  to 
every  prayer  Wak-chung-kaka  answered,  “Ho!"  (yes).  At  length, 
when  all  the  people  were  gathered  before  him,  he  said:  “My  nephews 
and  nieces,  I  will  grant  your  prayers  if  you  will  do  what  I  tell  you. 
Let  two  strong  men  take  hold  of  my  horns,  one  on  each  side,  and 
let  another  one  split  my  head  down  the  middle,  carefully,  carefully 
— he  must  be  careful  not  to  cut  too  deep." 

So  two  strong  men  took  hold  of  his  horns,  one  on  each  side, 

and  pulled  with  all  their  might,  while  a  third  took  a  stone  axe  and 

f  246] 


WINNEBAGO 


very  carefully  chopped  the  elk’s  head  down  the  middle,  till,  crack! 
the  skull  fell  apart  and  there  stood  W ak-chung-kaka,  and  laughed, 
“Haw,  haw,  haw!” 


STORIES  OF  WASH-CHING-GEKA,  THE  LITTLE  HARE 

Youngest  son  of  Ma-o-na  (Earth-Maker) 

I 

ASH-CHING-GEKA  lived  with  his  grandmother  while 
doing  his  works*  His  grandmother  was  the  earth,  and 
she  was  very  wise.  She  cooked  for  the  Little  Hare 
and  nourished  him  and  took  care  of  him. 

Now  among  the  other  evil  things  then  in  the  world  were  eight 
blind  men  who  lived  in  a  wood;  they  went  about  with  the  help 
of  long  cords  and  spread  webs  among  the  trees,  in  which  they  caught 
people  and  killed  them. 

One  day  when  the  blind  men  were  cooking  their  dinner  of  bear’s 
meat,  W ash-ching-geka  went  in  among  them.  There  was  a  piece 
of  meat  for  each.  Now  the  men  could  not  see  W ash-ching-geka, 
and  he  stepped  softly  to  the  pot  and  took  out  one  portion  of  meat. 
When  the  blind  men  began  to  eat  they  quarrelled  with  one  an¬ 
other  over  the  missing  portion,  because  each  one  thought  another 
had  taken  his  meat.  As  they  were  quarrelling,  Wash-ching-geka 
slapped  one  of  them,  and  then  that  one  slapped  his  neighbor,  and 
he  slapped  the  next,  and  so  they  all  fell  to  fighting. 

Meanwhile,  Wash-ching-geka  ran  home  to  his  wise  grandmother 
and  took  counsel  with  her. 

Next  day  he  went  again  to  the  blind  men,  and  while  they  were 
cooking  he  took  out  the  meat  and  put  poison  on  it.  So  the  blind 
men  ate  of  the  poisoned  meat  and  were  killed.  They  would  never 
again  spread  webs  among  the  trees  to  destroy  the  people.  And 
now  when  they  were  dead,  behold,  Wash-ching-geka  saw  that  really 
they  were  spiders. 


THE  INDIANS'  BOOK 


II 

In  the  early  days  there  was  a  great  hill  that  used  to  open  and 
shut  like  a  pair  of  jaws  and  devour  men  and  animals.  The  hill 
would  open  in  the  middle  and  the  sides  would  fall  back  till  they 
lay  flat  upon  the  ground,  and  all  the  land  looked  like  good  smooth 
prairie. 

Then  herds  of  elk  and  deer  and  buffalo  would  come  to  graze, 
and  when  the  place  was  full,  the  jaws  of  the  hill  would  close,  and, 
crack!  all  the  animals  would  be  crushed  and  killed.  This  hill  killed 
so  much  game  that  the  Earth-Maker  feared  that  all  the  people 
would  starve.  So  he  sent  his  son,  Wash-ching-geka,  to  destroy 
the  hill. 

When  the  Little  Hare  came  there  the  hill  opened  and  all  the 
ground  was  smooth;  and  Wash-ching-geka  made  himself  like  a 
small  stone  and  lay  quite  still.  Then  the  elk  and  deer  and  buffalo 
came  to  graze,  but  as  soon  as  the  mouth  began  to  close  on  them, 
see!  Wash-ching-geka  quickly  changed  himself  into  a  great  stone, 
and  so,  when  the  hill  shut  on  him,  hoo!  the  jaws  were  broken 
all  to  pieces.  The  hill  lay  shattered  and  never  could  devour  men 
or  animals  any  more. 


Ill 

There  was  a  great,  great  elephant 1  that  used  to  devour  people 
by  reaching  out  for  them  with  his  long  tongue  and  swallowing 
them.  This  elephant  looked  like  a  large  hill  all  covered  with  grass. 
Wash-ching-geka  went  out  to  kill  the  elephant  because  he  devoured 
so  many  of  the  people.  First  he  sprinkled  himself  all  over  with 
little  pieces  of  flint,  and  then  he  sat  down  in  front  of  the  elephant 
and  sang  this  song: 

“  You,  who  reach  with  your  tongue. 

Great  One,  you  draw  them  in. 

So  have  I  heard  it  told. 

Gather  me  in,  gather  me  in  !” 


1  The  Indians  have  many  legends  to  account  for  the  remains  of  prehistoric  animals. 

[2481 


WINNEBAGO 


The  elephant  saw  Wash-ching-geka's  ears  sticking  tip  in  the 
grass,  and  he  thought  they  were  feathers  on  somebody's  head, 
so  he  reached  out  his  tongue  and  swallowed  the  Little  Hare*  In¬ 
side  the  elephant  all  was  dark  and  vast;  there  were  starving  people 
here,  some  dead  and  some  dying,  for  they  had  no  wood  to  cook 
with. 

Then  W ash-ching-geka  said  to  a  young  woman  that  was  inside, 
“Look  in  my  fur  and  see  if  you  can  find  a  piece  of  flint.” 

The  woman  searched  through  his  fur  and  found  a  little  piece 
of  flint.  Wash-ching-geka  struck  his  hand  upon  the  flint  and 
said,  “Grow  bigger!”  and  it  was  bigger.  Four  times  he  struck 
thus,  and  each  time  the  flint  grew  bigger.  Then  he  struck  it  again 
and  said,  “Be  a  knife!”  and  it  was  a  knife.  Then  he  struck  yet 
again  and  said,  “Be  a  big  knife!”  and  it  was  a  great  big  knife. 

Wash-ching-geka  felt  along  the  ribs  of  the  elephant  till  he  found 
a  soft  place  between  two  rib-bones,  and  there  he  cut  a  hole  like 
a  door  and  sent  out  all  the  people.  Then  he  ran  forward  to  the 
elephant's  heart,  and  with  one  blow  of  his  knife  he  split  the  heart  in 
two.  Then  he  also  jumped  out  through  the  hole.  But  on  his 
way  he  caught  up  the  elephant's  young,  and  when  he  came  outside 
he  threw  the  little  elephants  clear  across  the  water.  That  is  why 
the  elephant  now  lives  only  on  the  other  side  of  the  water. 


WASH-CHING-GEKA  NA-WA’  NI-NA 

Wa-le  ki-zi-na-nap, 

Chun-ka,  wa-lai-na-nap, 
Sa-ah-zhe  ai-le-la, 

Hin-gi  na-nap  ! 

Hin-gi  na-nap  ! 


SONG  OF  THE  HARE 

You,  who  reach  with  your  tongue. 
Great  One,  you  draw  them  in. 

So  have  I  heard  it  told. 

Gather  me  in  ! 

Gather  me  in  ! 


IV 

s* 

While  running  here  and  there  over  the  earth  to  see  what  work 
was  still  to  do,  Wash-ching-geka  found  a  pass  or  trail  where  some 
huge  thing  had  gone  by. 

“I  must  find  out  what  this  is,”  said  he;  “maybe  it  is  some  great 
animal  that  will  run  over  the  people  and  kill  them.” 

[2491 


THE  INDIANS’  BOOK 


So  he  blocked  up  the  pass  with  trees  and  stones;  but  when  he 
came  there  again,  lo!  the  big  thing  had  burst  through  them. 

Then  he  went  to  his  grandmother  and  told  her  about  it,  and  she 
made  a  net  which  he  spread  across  the  pass.  Next  day  he  heard 
some  one  crying  aloud  and  singing  this  song: 

u  Wash-ching-ge,  let  me  loose,  I  cry, 

Wash-ching-ge,  let  me  loose,  I  cry ! 

Your  uncles  and  your  aunts. 

Oh,  whatever  will  they  do. 

Whatever,  whatever  will  they  do  ! 

Wash-ching-ge,  let  me  loose,  I  cry, 

Wash-ching-ge,  let  me  loose,  I  cry  V* 

Who  was  it  that  Wash-ching-geka  had  caught — who  but  the 
sun!  For  the  sun  used  to  go  through  that  pass  every  day,  and 
now  he  was  fast  in  Wash-ching-geka’s  net! 

"Go  you  and  set  him  loose!"  cried  the  grandmother,  and  she 
scolded  the  Little  Hare  and  beat  him  over  the  head  with  her  cane. 
**  What  will  all  your  little-fathers  and  your  little-mothers1  do  with¬ 
out  the  sun?  Go,  set  him  loose!" 

So  Wash-ching-geka  tried  to  untie  the  net.  But  the  sun  was 
so  hot  that  the  Little  Hare  could  not  face  him.  He  could  only 
back  up,  turning  away  his  head;  and  so  his  hinder  parts  were  so 
scorched  that,  to  this  day,  the  skin  of  the  hare’s  hind-quarters  is 
tender  and  easily  broken. 


WI-LA  NA-WA'  NI-NA 

Wash-ching-ge,  hin-khu  lush-ka-le, 
Wash-ching-ge,  hin-khu  lush-ka-le  ! 
Hi-tek-nik  wa-la-ka, 

Hi-u-ni-nik  wa-la-ka, 

Cha-ku  ki-shkan  hi-la-ni-he  kche-zhe  ! 
Wash-ching-ge,  hin-khu  lush-ka-le, 
Wash-ching-ge,  hin-khu  lush-ka-le  ! 


SONG  OF  THE  SUN 

Wash-ching-ge,  let  me  loose,  I  cry, 
Wash-ching-ge,  let  me  loose,  I  cry ! 
Your  uncles  and  your  aunts, 

Oh,  whatever  will  they  do. 
Whatever,  whatever  will  they  do  ! 
Wash-ching-ge,  let  me  loose,  I  cry, 
Wash-ching-ge,  let  me  loose,  I  cry ! 


1  Literal  translation  of  aunts  and  uncles.  Aunt  and  uncle  are  terms  of  respect  or  reverence. 
An  older  person,  or  a  person  of  importance,  will  address  a  younger  one  as  “  my  nephew  ”  or 
“  my  niece,”  u  Your  uncles  and  your  aunts  ”  means  here,  of  course,  all  the  people  in  the  world. 

[250] 


WINNEBAGO 


V 

La-ga-ka-nan-shke  was  a  monster  shaped  like  a  flying  ant, 
with  a  big  body  and  legs,  but  very,  very  small  in  the  middle.  He 
lived  behind  a  hill  and  never  came  out.  But  he  carried  a  great 
tree  and  pounded  with  it  on  the  ground  while  he  sang  a  song,  and 
when  the  elk  and  other  animals  came  near  he  threw  down  his  tree 
upon  them  and  killed  them.  This  ant-man  was  scarcely  thicker 
at  the  waist  than  a  hair.  W ash-ching-geka  thought  that  he  could 
blow  him  in  two,  so  he  blew — “Soo!  soo!”  But  instead  of  blow¬ 
ing  La-ga-ka-nan-shke  in  two,  W ash-ching-geka  himself  got  killed, 
for  the  ant-man  threw  his  tree  and  crushed  the  Little  Hare. 

When  La-ga-ka-nan-chke  lifted  up  his  tree  he  found  only  a  very 
small  and  flattened  thing.  He  picked  it  up  by  the  ears.  “No 
good  to  eat,”  he  thought,  so  he  threw  the  Little  Hare  away. 

That  evening  when  Wash-ching-geka  did  not  come  home  his 
grandmother  said,  “My  little  nephew  is  killed.”  For  though  Wash- 
ching-geka  ran  over  the  whole  earth  in  the  daytime,  he  always 
came  back  at  night;  so  when  he  did  not  return  his  grandmother 
knew  that  he  had  been  killed. 

Next  morning  she  rose  up  and  ate  and  girt  her  dress  above  her 
knees  so  that  she  could  run  .faster,  and  she  took  an  elk-horn  club 
of  W ash-ching-geka’s  and  started  out  to  find  him.  The  old  grand¬ 
mother  could  run  fast  like  Wash-ching-geka,  and  she  ran  over  the 
whole  earth  till  she  heard  the  noise  of  the  huge  ant-man  pounding 
and  singing.  La-ga-ka-nan-shke  lifted  up  his  tree  to  throw  it  on 
her,  but  the  grandmother  said,  “Brother,  better  not  do  that!” 
So  he  stayed  his  hand  and  talked  with  her. 

Said  the  grandmother:  “Brother,  I  fear  my  little  nephew  has 
been  killed.  Perhaps  he  came  here  and  annoyed  you  and  you  killed 
him.” 

Said  the  ant-man,  “Well,  sister,  what  kind  of  nephew  was  it,  big 
or  little?” 

“Oh,”  she  said,  “very  little.” 

Then  said  he:  “Well,  sister,  maybe  I  did  kill  him,  I  killed  some¬ 
thing  very  small  yesterday.  It  was  no  good  for  eating,  so  I  threw 

[  251 1 


THE  INDIANS’  BOOK 


it  away.  Go  you  down  there  and  look  at  it.  Maybe  it  was  the 
little  nephew." 

So  the  grandmother  went  down  and  looked,  and  there  lay  the 
Little  Hare.  Then  she  said:  "  Brother,  it  was  my  little  nephew 
you  killed  yesterday.  He  is  here  now,  dead." 

Then  she  picked  up  the  Little  Hare  by  the  ears  and  said,  "You 
sleep  here  too  long;  wake  up  and  go  to  work!" 

She  threw  him  to  one  side,  and  just  as  he  touched  the  ground 
he  jumped  and  ran  a  little,  as  hares  do,  and  sat  up  and  said,  "Grand¬ 
mother,  I  was  asleep  here,  and  you  wakened  me." 

"No,  nephew,"  said  the  grandmother,  "you  were  not  asleep. 
You  were  killed  by  the  grandfather  that  walks  and  walks  up  there 
on  the  hill.  You  came  here  yesterday  and  annoyed  him,  and  he 
killed  you.  I  made  you  alive  again." 

The  Little  Hare  said:  "Oh,  that  is  so.  I  remember  now.  I 
will  go  to  see  him  again  and  set  that  right." 

So  the  Hare  went  home  with  his  grandmother.  Next  morning 
after  he  had  eaten  he  started  out.  La-ga-ka-nan-shke  had  a  big 
fir-tree,  so  the  Little  Hare  went  away  to  the  very  edge  of  the  earth 
where  the  biggest  pine-trees  grow,  and  there  he  spoke  to  Wa-zi- 
chunk,  the  tallest  tree  in  the  world. 

"Big  tree,"  said  he,  "I  have  come  for  you;  I  am  going  to  use  you. 
I  will  pull  you  out  of  the  ground,  but  when  I  have  finished  with  you 
I  will  set  you  back  again." 

So  he  laid  hold  of  the  tree  and  pulled  it  out,  and  then  went  to 
the  place  where  he  had  been  killed.  He  climbed  the  hill  at  one 
end;  La-ga-ka-nan-shke  was  at  the  other  end,  and  he  began  to  sing 
and  pound  with  his  tree.  Wash-ching-geka  did  the  same,  and 
they  danced  towards  each  other,  singing  and  pounding.  But  soon 
the  big  ant-man  walked  slower,  and  could  hardly  keep  on  his  feet, 
because  the  Hare  made  the  ground  shake  with  the  pounding  of 
the  tallest  tree  in  the  world. 

La-ga-ka-nan-shke  came  slowly,  growing  more  and  more  fright¬ 
ened,  and  at  last  when  they  were  close  to  each  other  he  cried  out, 
"  Ka-lo-quaw!"  And  the  Hare  answered,  " Ka-lo-quaw!"  The 
Little  Hare  heard  where  the  ant-man  was,  and  he  took  his  tall  tree 
and  crushed  the  monster — "Boom!"  and  a  swarm  of  flying  ants  came 

[252] 


WINNEBAGO 


out  of  the  monster's  body.  And  the  wise  grandmother,  far  away, 
when  she  heard  the  noise  of  that  blow,  cried,  “Oh,  little  nephew 
has  killed  his  grandfather!"  Then  W ash-ching-geka  said,  “Yon 
big  flying  ant  can  never  kill  anything  more,  and  yon  little  ants  will 
have  to  creep  on  the  gronnd,  bnt  sometimes  yon  may  fly."  And 
then  he  carried  the  tall  tree  to  the  edge  of  the  earth  and  set  it  back 
in  its  place. 

WAI-KUN 

Fable 


Sung  and  told  by  Chash-chunk-a  (Wave,  Peter  Sampson) 


Once  there  were  some  mice  nnder  a  crooked  log  and  they  be¬ 
lieved  they  were  the  only  people  in  the  whole  world.  One  of  them 
standing  np  and  stretching  his  little  arms  conld  jnst  tonch  the 
nnder  side  of  the  log.  He  thonght  that  he  was  very  tall  and  that  he 
tonched  the  sky.  So  he  danced  and  sang  this  song: 


WAI-KUN 


FABLE 


Mo-zhtm-na-le, 

Pe-zhe  ya-ki-ske  shun-non-nink 
na-gi-kche ! 

Mo-zhtm-na-le, 

Pe-zhe  ya-ki-ske  shun-non-nink 
na-gi  -kche  ! 

Ne-sha-na  ma-c/zi-nik-gla  ya-ki-o-o ! 


Throughout  the  world 
Who  is  there  like  little  me ! 

Who  is  like  me ! 

I  can  touch  the  sky, 

I  touch  the  sky  indeed ! 


MA-O-NA 

Song  to  the  Earth-Maker 
Sung  and  told  by  Chash-chunk-a  (Wave,  Peter  Sampson) 


N  olden  times  it  was  cnstomary  for  a  yonng  man  often 
to  blacken  his  face  and  go  into  solitude  to  fast.  Then 
while  his  body  lay  sleeping  his  son!  went  away  to  the 
spirits.  Spirits  often  have  the  form  of  animals,1  and  so 
man  might  see  in  dream  the  Elk  Chief  or  the  Buffalo 

1  See  "  The  Songs  of  the  Dakotas,”  page  60,  and  “  Introduction  to  the  Pawnee  Songs,” 
page  96. 


the  yonng 
Chief. 


1253] 


THE  INDIANS'  BOOK 


The  thunder  is  a  spirit,  and  it  is  the  emblem  of  war;  it  is  winged, 
mighty,  and  awful,  and  it  is  called  the  Thunder-Bird*  Great  is  he 
to  whom  the  thunder  appears  in  vision,  for  he  will  become  war-chief* 
So  this  man  who  fasted  would  see  and  talk  with  the  spirits  and 
they  would  teach  him  wisdom.  From  some  one  of  them,  perhaps 
from  his  own  guiding  spirit,  would  he  learn  a  song.  So  did  a  man 
long  ago  learn  of  the  spirits  this  song.  Thereafter  it  was  sung  as 
a  consecration  before  going  to  war. 

MA-O-NA  SONG  TO  THE  EARTH-MAKER 

Ma-o-na  Earth-Maker, 

Wai-kan-chunk  hi  kche,  hing-ge  !  Holy  shall  I  be, — holy  ! 


WUN-KJJN  NA-WA N 

Holy  Song  (Medicine  Song) 

Song  and  told  by  Nek-hu-wi-ka  (South  Wind,  Jacob  Russell) 

I 

NCE  long  ago,  before  the  Winnebagos  left  their  old  home 
by  the  Great  Water  in  Wisconsin,  there  went  a  young 
man  into  the  hills  to  fast.1  He  fasted  for  twelve  days, 
and  then  a  spirit  came  to  him  in  a  vision  and  talked  with 
him.  Ma-o-na,  the  Earth-Maker,  had  sent  the  spirit  to  teach  the 
man;  and  the  spirit  gave  him  knowledge  and  taught  him  wonderful 
words  that  brought  health,  welfare,  and  long  life.  Wise’  was  the 
young  man  when  he  left  the  hills,  for  he  brought  with  him  the  teach¬ 
ings  of  the  spirit  and  the  power  of  the  holy  words.  When  he  came 
back  to  his  people  he  sang  this  song,  and  this  was  the  beginning  of 
one  kind  of  medicine  ceremony.  The  words  he  had  learned  of  the 
spirit  were  so  holy  that  the  man  lived  long  without  any  sickness, 
nor  did  he  die  of  any  ill.  At  the  last  all  the  joints  of  his  body  fell 
apart  from  mere  old  age,  and  of  old  age  alone  he  died. 

So  the  song  that  he  made  containing  the  wonderful  words  has 
always  been  cherished  by  the  Winnebagos  because  of  its  great  power. 

1  See  “The  Holy  Man,”  page  32;  “The  Songs  of  the  Dakotas,”  page  60;  and  “Introduc¬ 
tion  to  the  Pawnee  Songs,”  page  96. 


[254] 


WINNEBAGO 


All  this  was  long  ago  when  the  language  of  the  Wmnebagos 
was  different  from  what  it  is  to-day*  Now  the  people  no  longer 
use  such  words  in  common  speech.  Indeed,  no  one  knows  the 
exact  meaning  of  the  wonderful  words.  The  song  is  still  used  in 
some  of  the  medicine  ceremonies,  but  only  the  Medicine -Men,  the 
Holy  Men,  understand  its  meaning. 

The  medicine  ceremony  of  the  Wmnebagos  lasts  four  days  and 
nights.  Holy  songs  are  sung,  and  there  is  spoken  ritual,  when 
the  Holy  Man  gives  commandments  and  teaches  the  people  the 
ways  of  goodness.  Now  and  again,  that  the  people  may  not  become 
tired  and  drowsy,  the  ceremony  is  enlivened  by  dancing.  So  the 
slow  part  of  this  holy  song  is  followed  by  a  quick  part  which  is  the 
music  of  the  dance.  The  medicine  ceremony  used  to  be  very  solemn 
and  sacred  in  the  olden  times,  and  its  mysteries  were  known  only 
to  the  initiated.  The  white  people  called  it  the  “medicine  religion” 
of  the  Winnebagos. 

MUN-KUN  NA-WAV  HOLY  SONG 


Ni  hai  na  wi  no  hu 
Ha  ha  ti  hi 
Hi  na  wi  hi  na 
Ma-na-gle  he 
Na  ha  wha 
Han  gle  he 
Ha  ha  ti  hi 
Hi  na  wi  hi  na 
Shi-ke  hai  na  wi  na-a 
Ha  ha  ti  hi 
Hi  na  wi  hi  na 
Shi-ke  hai  na  wi  na-a 
Ha  ha  ti  hi 
Hi  na  wi  hi  na 


(Saith  the  Spirit, 

“  Dream,  oh,  dream  again. 
And  tell  of  me. 

Dream  thou  !”) 

Into  solitude  went  I 
And  wisdom  was  revealed  to  me. 
(Saith  the  Spirit, 

“  Dream,  oh,  dream  again. 
And  tell  of  me. 

Dream  thou  !”) 

Let  the  whole  world  hear  me, 

Wise  am  I  ! 

(Now  saith  the  Spirit, 

“  Tell  of  me, 

Dream  thou  !”)  ^ 

All  was  revealed  to  me ; 

From  the  beginning 
Know  I  all,  hear  me  ! 

All  was  revealed  to  me  ! 

(Now  saith  the  Spirit, 

“  Tell  of  me. 

Dream  thou  I”) 


f  2551 


THE  INDIANS’  BOOK 


HI-W  A-SHI-DA 

Ma-na-gle  wu-hi-ni-gi-gi-na, 
Ma-na-gle  wu-hi-ni-gi-gi-na, 
Ha-chi-je-na  ! 

Chi-na-gla  wu-hi-ni-gi-gi-na, 
Chi-na-gla  wu-hi-ni-gi-gi-na, 
Ha-chi-je-na  ! 


DANCE 

I  have  won  the  world. 
The  world  is  won, 

I  have  won  the  world. 
The  world  is  won, 

I  am  come, 

I  am  come  here  now  ! 

I  have  won  the  village. 
Yea,  ’tis  won, 

I  have  won  the  village. 
Yea,  'tis  won, 

I  am  come, 

I  am  come  here  now  ! 


MUN-KUN  NA-WAN 


Holy  Song  (Medicine  Song) 

II 


HE  wisdom  of  the  otter 1  is  known  to  the  Men  of  Medicine. 
In  pouches  made  of  otter-skin,  or  of  the  skin  of  some 
other  emblematic  animal,  the  Men  of  Medicine  put  their 
mystic  “  medicine  ”  and  charms.  During  a  Medicine- 
Dance  the  Medicine -Men  hold  their  skin -pouches  in  their  hands, 
and  suddenly  shoot  them  out  at  arm’s-length  towards  some  man, 
when  the  mysterious  power  that  is  inside  the  pouch  flies  out  like  an 
arrow  and  strikes  the  man  dead.  He  falls  on  his  face,  and  lies  mo¬ 
tionless  until  the  Men  of  Medicine,  through  their  mysterious  power, 
bring  him  to  life  again.  Women,  too,  are  pierced  by  the  unseen 
arrows. 


MUN-KUN  NA-WA N 


HOLY  SONG 


Ma-ni-na,  le-ha-no, 
Ma-ni-na,  le-ha-no, 
Wunk-i-wi-zha  le-ha-no, 
Ma-ni-na,  le-ha-no  ! 


Let  it  fly — the  arrow. 

Let  it  fly — the  arrow. 

Pierce  with  a  spell  the  man,  oh  ! 
Let  it  fly— the  arrow. 


See  “  Introduction  to  the  Pawnee  Songs,”  page  96. 
[256] 


WINNEBAGO 


Ma-ni-na,  le-ha-no, 
Ma-ni-na,  le-ha-no, 
Hi-nuk-i-zha  le-ha-no, 
Ma-ni-na,  le-ha-no ! 


Let  it  fly — the  arrow. 

Let  it  fly — the  arrow. 

Pierce  with  a  spell  the  woman  ! 
Let  it  fly — the  arrow. 


HE-LUSH-KA  NA-WAJV1 

Warrior-Songs 

HE  Winnebago  ceremony  of  the  He-lttsh-ka  is  of  Omaha 
origin,  and  corresponds  to  the  “ Omaha  Dance”  of  the 
Dakotas.  It  has  come  to  be  a  purely  sociable  dance, 
but  the  recitals,  in  song  and  story,  of  great  deeds  or  of 
events  in  the  tribe  form  still  an  important  part  of  the  ceremony. 

The  dance  is  an  occasion  of  general  gift-making,  and  any  one 
who  gives  may  be  called  “  He-lush-ka.” 


HE-LUSH-KA  NA-WAiV 
Three  Warrior-Songs 

Sung  and  told  fay  Chash-chunk-a  (Wave,  Peter  Sampson) 

HESE  three  warrior-songs  tell  the  story  of  the  last  fight¬ 
ing  done  by  the  Winnebagos.  Some  of  the  tribe  were 
employed  in  the  year  1864  as  government  scouts.  They 
were  looking  for  the  Arapahos,  when  they  came  sud¬ 
denly  upon  a  party  of  Pawnees  and  charged  them,  mistaking  them 
for  the  enemy.  The  Pawnees,  who  were  themselves  friends  of  the 
government,  did  not  wish  to  fight  the  government  scouts,  so  they 
fled  in  haste,  dropping  their  bundles  to  lighten  their  ponies  as  they 
galloped  away.  Now,  among  the  pursuing  Winnebagos  was  a 
Pawnee  who  had  married  into  the  Winnebago  tribe,  so  when  the 
Pawnee  chief  lifted  his  hand  and  cried  out,  “Friends!”  this  man 
recognized  the  flying  braves  as  his  own  people,  and  the  Winnebagos, 
seeing  their  mistake,  ceased  their  pursuit.  But  in  the  excitement 


See  Dakota  “  Omaha  Dance-Songs,”  page  55. 
[257] 


THE  INDIANS'  BOOK 


one  of  the  Winnebagos  fired  a  shot  and  wounded  the  horse  of  a 
Pawnee;  and  the  owner  afterwards  came  to  the  Winnebagos  and 
claimed  payment  for  damages.  But  the  Winnebago  refused  to  pay, 
and,  with  Winnebago  wit,  put  in  a  counter-claim  for  his  lost  bullet, 
which,  he  said,  had  been  intended  for  an  Arapaho.  This  man 
was  called  by  the  whites  George  Eaton,  but  after  this  incident  he 
was  known  to  the  Winnebagos  as  “  Pawnee  Shooter.” 

The  first  song  describes  the  pursuit  of  the  Pawnees  by  the  Winne¬ 
bagos.  The  next  is  an  exclamation  of  derisive  triumph  at  the  trail 
the  Pawnees  have  left,  all  strewn  with  their  bundles.  The  last  tells 
of  the  mutual  recognition  of  the  pursuers  and  pursued:  **  Winne¬ 
bagos,1  these,  you  say!  Pawnees,  these,  you  say!  Friends,  halloo, 
you  say!”  These  three  songs  are  well  liked  by  the  Winnebagos 
and  are  still  sung  at  the  He-lush-ka  dances. 

I 

WARRIOR-SONG 

Ho,  friend,  whip  up  your  horse  ! 

Now  they  fly  fast — Pawnees — see 
how  they  fly  ! 

Ho,  friend,  whip  up  your  horse  ! 

Ho,  friend,  prick  up  your  horse  I 
Pawnee  Shooter,  ride  fast,  for 
they  are  gone  ! 

Ho,  friend,  prick  up  your  horse  l 

II 

WARRIOR-SONG 

See  the  trail  they've  left  here  ! 
Comrades,  hearken — Pawnee  braves, 

I  saw  them. 

What  a  trail  they've  left  here  ! 


1  It  was  not  possible  to  make  an  absolutely  literal  translation  to  fit  the  music. 

•  [2581 


HE-LUSH-KA  NA-WA N 

Shun-ke  wo-djin  wi-ne  ! 
Shun-ke  wo-djin  wi-ne  ! 

Ko-la-wi-la, 

Pa-ni  ka-lai-la-dju-ka  ! 
Shun-ke  wo-djin  wi-ne  ! 

Shun-ke  wa-na-ma-ne  ! 
Shun-ke  wa-na-ma-ne  ! 
Pa-ni  guch-la, 

Pa-ni  ka-lai-la-dju-ka  1 
Shun-ke  wa-na-ma-ne  ! 


HE-LUSH-KA  NA-WAV 

Wa-we-la  ha-dja-le  ! 
Wa-we-la  ha-dja-le  ! 
Hi-cha-ko-lo, 

Pa-ni-na  wa-cha-la  ! 
Wa-we-la  ga-ske-na  ! 
Wa-we-la  ha-dja-le  ! 


WINNEBAGO 


III 

HE-LUSH-KA  NA-WAV 

Ho-chunk-gi-le,  hi-she-na  ! 
Ho-chunk-gi-le,  hi-she-na ! 

Pa-ni-na,  hi-she-na  ! 

Hi-ta-lo,  hi-she-na  ! 
Ho-chunk-gi-le,  hi-she-na  ! 


WARRIOR-SONG 

Ho,  they  are  Winnebagos  ! 

Pawnee  braves,  they  hailed  us; 

“  Friends !  Halloo  V*  they  hailed  us. 
Ho,  they  are  Winnebagos  ! 

f 


HE-LUSH-KA  NA-WA N 
Warrior -Song 
IV 


Sung  and  told  by  Wa-che-li-man-iga  (Surly  Walker,  of  the  Bear  Clan,  James  Mallory) 


AN-CHO-SEP-KA  (Black  Bear)  was  one  of  the  leaders 
of  the  Winnebago  scouts  in  the  United  States  service 
dtiring  the  Civil  War.  In  the  Black  Hills  he  fought 
alone  against  forty  Dakota  braves  and  received  many 
wounds*  This  song  was  sung  in  honor  of  him.  Eagle-feathers  are 
worn  by  braves,  and  each  feather  is  a  war  honor  given  for  some 
valorous  deed. 


HE-LUSH-KA  NA-WAJV 

Ho-wi  lo-ki-wa-wi-le  ! 

Lo-han  tt’eh-hi-ga, 

Ma-shon  o-ni  je-na  ! 

Ho-wi  lo-ki-wa-wi-le  ! 

HE-LUSH-KA 


WARRIOR-SONG 

Follow  him,  mount  your  horses  I 
He  killed  many. 

He  hunts  eagle-feathers  now  ! 
Follow  him,  mount  your  horses  l 

NA-WAJV 


Warrior-Sonj 

V 


Sung  and  told  by  Wa-che-li-man-iga  (Surly  Walker,  of  the  Bear  Clan,  James  Mallory) 

Some  Winnebagos  went  to  visit  the  Dakota  chief,  **  Yellow- 
Hair  ffl  and  his  people.  While  there  they  sang  this  song: 


See  illustration,  facing  page  54. 
[2591 


THE  INDIANS'  BOOK 


HE-LUSH-KA 

Ya-tt'-eh-la  hamb-la  pin-na, 
Ya-tt’-eh-la  hamb-la  pin-na, 
Hi-he-la  na-nacA-kon-je, 
Ya-tt'-eh-la  hamb-la  pin-na  ! 

Na-ju-zi-la, 

Ho-chnnk-la  zhe-skai-le, 
Hi-he-la  na-nacA-kon-je, 
Ya-tt'-eh-la  hamb-la  pin-na  ! 


WARRIOR-SONG 

When  I  talk,  'tis  fair  weather. 
When  I  talk,  'tis  fair  weather. 
So  say  I,  you  hear  me, 

When  I  talk,  'tis  fair  weather  ! 

Yellow-Hair,  ho. 

Thus  are  all  Winnebagos, 

So  say  I,  you  hear  me, 

When  I  talk,  'tis  fair  weather  ! 


WA-GI-TT'EH  NA-WAiV 

Wailing-Song 

Sung  and  told  by  Chash-chunk-a  (Wave,  Peter  Sampson) 

MAN  was  riding  homeward  in  a  wagon  with  an  old  woman 
whom  he  called  grandmother,  for  aged  people  of  kin, 
or  even  aged  friends,  may  always  be  known  as  grand¬ 
mother  or  as  grandfather  to  those  who  are  younger.  On 
the  v/ay  the  grandmother  suddenly  died.  So  as  he  came  near 
home  the  man  began  to  sing  this  wailing-song  with  sobbing  voice 
to  let  the  people  know  that  she  was  dead. 

WA-GI-TT’EH  NA-WAiV  WAILING-SONG 

Pe-zhe-ga  ko-ni-ka  ya-ge-  Whom,  oh,  whom  shall  I  now  call  grand- 

kche-ne-zhe  !  mother  ! 


WAK-JE  NA-WAiV1 

Victory-Song 

Pajoka  is  the  Winnebago  name  for  Comanche.  In  this  song 
the  triumphant  Winnebago  has  shot  a  Paioka. 

WAK-JE  NA-WAiV  VICTORY-SONG 

Pa-jo-ka  nik-la.  Ah,  my  little  Pajoka, 

Hi-zhuk  ha-ni-na  Do  you  fear  my  gun,  Pajoka  ? 

Nan-na-ke-we-no  ! 

1  See  “  Victory-Songs  of  the  Cheyennes,”  pages  155-157. 
f  260] 


WINNEBAGO 


WUNK-HI  NA-WAiV 

Love-Song 

Sung  and  told  by  Winnebago  women 

I 

N  the  summer  of  the  olden  time  there  might  often  be 
heard  at  eventide  the  call  of  flutes.  It  was  the  youths 
upon  the  hill-side  piping  love-songs.  Every  one  may 
know  a  love-song  when  he  hears  it,  for  the  flute-tones 
are  long  and  languorous,  and  are  filled  with  a  soft  tremor.  When 
a  maiden  heard  the  flute-music  of  her  lover  without,  she  always 
found  it  necessary  to  leave  the  tipi  to  draw  water  or  to  visit  some 
neighbor. 

In  this  song  the  maid  asks  leave  of  her  mother  to  go  to  see  her 
uncle,  but  the  music  tells  that  it  is  really  her  lover  to  whom  she  is 
going.  The  old  people  were  not  often  deceived  when  the  flute- 
music  sounded. 

WUNK-HI  NA-WAiV  LOVE-SONG 

Na-ni,  dega-go  Mother,  let  me  go  to  my  uncle  ! 

E-dja  wa-de-kjela ! 


WUNK-HI  NA-WA  N 
Love-Song 
II 

WINNEBAGO  maiden  dreamed  of  a  mythical  Dakota 
woman  famed  for  her  many  lovers  and  for  her  great 
power  of  inspiring  love.  On  awakening,  the  maiden 
felt  herself  impelled  to  lead  the  same  kind  of  life.  At 
once  she  composed  this  song,  in  which  she  tells  another  woman 
of  the  miraculous  power  that  has  come  upon  her.  This  song  is 
only  a  few  years  old. 

[2611 


THE  INDIANS’  BOOK 


WUNK-HI  NA-WAV 

Hi-zhan  ho-do-chuch-ka, 

Zhe-ske  shu-nu-na; 

Hi-zhan  wa-ki-tt’-eh-ka, 

Zhe-ske  shu-nu-na; 

Hi-zharz  wai-zhi-zhi-ka, 

Zhe-ske  shu-nu-na; 
Hi-cha-ko-lo,  hi-nuk  lo-in-na-gle 
wi-do-kan-na-na ; 
Hi-zhan  do-mai-ku-ka, 

Zhe-ske  shu-nu-na. 


LOVE-SONG 

Whomsoe’er  look  I  upon, 

He  becomes  love-crazed; 
Whomsoever  speak  I  unto. 

He  becomes  love-crazed; 
Whomsoever  whisper  I  to. 

He  becomes  love-crazed; 

All  men  who  love  women. 
Them  I  rule,  them  I  rule. 

My  friend; 

Whom  I  touch,  whom  I  touch, 
He  becomes  love-crazed. 


A  TRUE  STORY 

HERE  was  once  a  young  man  who  was  about  to  enter 
upon  a  fast,  and  nothing  less  would  satisfy  him  than 
that  he  must  dream  of  Ma-o-na,  the  Earth-Maker,  He 
blackened  his  face,  as  was  the  custom,  and  fasted  four 
days  or  more,  and  dreamed  of  many  things;  then  he  ate  a  little 
food,  and  fasted  again.  So  he  persevered  until  he  had  dreamed 
of  everything  on  the  earth,  or  under  the  earth,  or  in  the  air;  he 
dreamed  of  the  whole  world,  but  he  never  saw  Ma-o-na,  The 
spirits  said  to  him,  ”  You  have  dreamed  of  Ma-o-na  because  yon  have 
dreamed  of  all  his  works.”  But  the  man  was  not  satisfied.  He 
blackened  his  face  and  lay  down  again,  and  again  he  dreamed  of  the 
whole  world,  yet  still  he  wished  to  dream  of  Ma-o-na,  but  could 
not.  But  after  four  nights  he  dreamed  again,  and  now  at  last  he 
dreamed  of  Ma-o-na.  And  Ma-o-na  said;  “I  am  the  Earth-Maker. 
You  will  see  me  to-morrow  at  noon.  But  it  is  not  well;  you  wish 
too  much.” 

So  the  next  morning  the  man  rose  up  and  made  himself  ready 
and  took  some  tobacco  for  an  offering,  and  before  noon  he  set  out 
for  the  place  where  Ma-o-na  had  said  that  he  could  meet  him,  a 
place  where  mighty  oak-trees  grew  to  a  vast  height.  There  he  stood 

still,  and  watched  and  listened,  till  just  at  noon  he  saw  a  large  flag 

[262] 


WINNEBAGO 


drop  down  to  the  earth  and  hang  suspended  before  him.  The 
man  looked  up  and  saw  that  Ma-o-na  was  there,  among  the  tall 
oaks;  he  saw  only  the  face  of  Ma-o-na,  a  long  face  with  good  eyes, 
for  the  flag  covered  all  the  rest.  Then  the  face  spoke  to  him  and 
said:  “Nephew,  you  said  that  if  you  could  not  dream  of  me  you 
would  die.  Nephew,  you  never  can  die.  You  never  can  die, 
because  you  are  like  me.  You  have  dreamed  of  all  my  works,  you 
know  them  all,  and  so  you  are  like  me.  The  spirits  told  you  this, 
but  you  would  not  believe.  You  wanted  to  see  me.  Now  you  see 
me  here  to-day.” 

The  man  thought  that  he  saw  Ma-o-na,  and  he  iooked  long  at  the 
face  and  never  turned  his  eyes  away,  till  at  last  the  creature  before 
him  grew  tired  and  drew  back  his  wing;  and  then  the  man  saw  that 
it  was  only  a  chicken-hawk,  one  of  the  evil  spirit's  birds,  that  had 
flown  down  into  a  low  oak  close  in  front  of  him;  and  the  chicken- 
hawk's  wing  had  seemed  to  be  the  flag.  The  man  cried  for  sorrow, 
and  he  lay  four  nights  more,  and* then  the  spirits  came  and  talked 
with  him  and  took  his  soul  away  with  them  and  said  to  him:  “Cease 
trying  to  dream  of  Ma-o-na.  There  are  many  more  little  birds  and 
creatures  of  the  evil  spirit  that  may  deceive  you.  You  can  dream 
no  more,  for  you  have  seen  all  things.'' 

So  the  man  ceased  his  fast  and  no  longer  tried  to  dream  of  Ma-o-na. 
He  never  saw  Ma-o-na,  nor  he  nor  any  one  upon  this  earth.  It 
is  not  possible  to  see  Ma-o-na. 

Note. — This  story  was  told  to  the  recorder  as  the  actual  experience  of  an  Indian  in  his  youth. 
It  gives  a  deep  insight  into  Indian  thought.  Maona  is  no  personified  deity  to  be  seen  with 
fleshly  eye.  He  who  would  thus  seek  to  look  upon  the  Earth-Maker  is  but  deceived  by  trivial 
things.  Maona,  to  the  Indian,  is  seen  in  all  his  works,  and  the  whole  world  of  nature  tells  of 
spiritual  life.  Maona  is  reflected  in  the  mind  of  man  himself,  for  man  is  like  Maona  when  he 
has  seen  and  understood  Maona's  works — the  universe  about  him. 


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KWAKIUTL  TITLE-PAGE 


The  design  at  the  top  of  the  page  represents  the  grizzly  bear; 
that  at  the  bottom  the  “  killer-whale.”  These  drawings  are  by 
Klalish  (Charles  James  Nowell),  a  Kwakiutl  Indian. 

The  lettering  is  by  Hinook  Mahiwi  Kilinaka  (Angel  De  Cora). 
The  letters  are  composed  of  motives  peculiar  to  Kwakiutl  de¬ 
sign:  the  tail  and  fin  of  the  whale,  the  hawk,  and  the  eye-joint. 


■  a  n  ■  .rruD  a 


■•■....-sc  vk:  ••  et/fssstqsi  sv.f*q  '-’tS-  io  qo#  -sd*  3£  rrgfesb  sdT 

yd  *ib  asniWAilb  $es/5T  ”.s  w-hj  .h:!  “  silt  raottod  silt  i&  tsitt 

r.iiiJI  rwideM  iHoostiH  yd  as  -grihsttsl  sdT 
lias:  ad  c  ,  -  3:-  d  -  aaoqrnoa  sv •.  s'jstts!  aril 


THE  KWAKIUTLS 


HE  Indians  of  the  Northwest  coast,  between  Juan  de 
Fuca  Strait  and  Yakutat  Bay,  are  classed  by  ethnol¬ 
ogists  as  a  single  culture  family,  subdivided  into  many 
linguistic  and  physical  groupings,  but  a  unit  in  point  of 
general  development.  Of  the  linguistic  branches,  the  Wakashan 
is  among  the  most  important,  and  to  this  division  the  Kwakiutl 
Indians  belong. 

Physically  the  Kwakiutl  is  different  from  the  other  Indians  of 
the  North  Pacific  group.  While  his  neighbors  all  have  low  faces 
with  broad,  flat  noses,  the  Kwakiutl  has  an  unusually  long  face 
and  a  high,  arched  nose.  The  social  organization,  too,  of  these  Ind¬ 
ians  is  different  in  some  important  respects  from  that  of  the  sur¬ 
rounding  groups. 

The  singers  here  represented  have  their  home  on  Vancouver 
Island.  Like  all  the  Northwest  coast  tribes,  these  Indians  are  great 
fishermen.  The  deep  fiords  and  inlets  which  cut  into  the  main¬ 
land  of  British  Columbia  and  the  shores  of  Vancouver  Island  yield 
quantities  of  salmon,  sea -lions,  and  even  whales.  The  women 
also  gather  mussels.  The  coast  tribes  are  dexterous  seamen,  and 
make  a  variety  of  strong  canoes  hewn  sometimes  from  a  single 
great  log  and  decorated  with  strange  emblematic  signs  and  figures. 
Similar  emblems  appear  upon  the  carved  wooden  house-posts  and 

NOTE  FOR  PRONUNCIATION  OF  KWAKIUTL  TEXT 

While  in  many  Indian  languages  there  are  sounds  not  exactly  the  same  as  the 
corresponding  ones  of  European  tongues,  in  the  Kwakiutl  occur  sounds  that  have 
no  counterpart  at  all  in  European  languages.  Such  sounds,  therefore,  can  be  ex¬ 
pressed  by  the  Roman  alphabet  approximately  only. 

Unless  otherwise  indicated,  vowels  have  the  Continental  sound,  and  consonants 
the  English. 

ch,  in  italic,  is  a  guttural,  like  ch  in  German. 

[297] 


THE  INDIANS'  BOOK 


totem -poles.  Such  emblems  often  represent  to  the  Indian  a 
long  and  sacred  narrative  of  his  ancestors;  they  aret  as  it  were, 
family  or  tribal  coats  of  arms.  Each  clan  among  the  Kwakiutls  is 
derived  from  a  mythical  ancestor  who  acquired  a  crest  in  the  course 
of  some  phenomenal  adventure,  and  whose  privileges  descend  from 
generation  to  generation.1 

The  Kwakiutls  make  a  variety  of  beautiful  things,  and  unlike 
many  other  tribes  they  set  great  value  upon  their  possessions.  Their 
arts  and  art  industries  reflect  a  wealth  of  barbaric  imagination  in 
design  and  show  power  and  accuracy  in  execution.  The  superb 
grotesques  of  the  giant  totem-poles  and  carved  canoes  are  wrought 
with  the  same  skill  as  are  the  delicate  and  symmetrical  tracings  upon 
stone  and  silver,  and  the  easy  curves  on  painted  boxes  and  other 
articles  of  use  and  decoration. 

These  Indians  live  in  wooden  houses  on  which  are  often  painted 
animal  forms  both  decorative  and  emblematic.  The  totem-pole, 
carved  from  a  great  tree,  rises  at  the  front  of  the  house;  the  en¬ 
trance  is  often  a  doorway  cut  through  the  pole.  The  native  life  is 
rich  in  ceremonial  and  symbolic  functions  which  are  frequently  ac¬ 
companied  by  song.  ** Everything  has  its  song/'  say  the  Kwakiutls; 
44  Every  person,  every  animal,  and  everything  has  its  song  and  its 
story.”  Even  objects  have  songs  either  connected  directly  with 
the  object  itself  or  through  the  association  of  song  and  object  in 
ceremonial.  So  there  is  a  song  belonging  to  each  totem-pole.  Cer¬ 
tain  songs  belong  to  certain  families,  and  are  as  much  a  part  of  the 
family  inheritance  as  are  the  crest  and  the  clan  emblems. 

The  Kwakiutl  music,  with  its  sharp  and  rugged  rhythm,  suggests 
to  the  imagination  the  steady  yet  broken  beat  of  the  sea,  while  in 
the  melodies  we  seem  to  hear  the  cry  of  the  sea-gull  or  the  shriek 
of  the  Hu-huk,  the  mythical  bird  of  prey.  To  the  white  man  there 
hovers  over  this  music  a  spirit  of  the  wilder  elements  of  nature, 
sublime,  sometimes  destructive,  mysterious,  and  awful,  like  the 
whir  of  the  Thunder-Bird’s  wings.  Yet  the  music  is  often  as  full  of 
beauty  as  the  white  gull  on  the  blue  sky. 

The  Kwakiutls  are  sinewy,  strong,  and  of  keen  and  fearless  im- 

1  The  ethnological  facts  regarding  the  Kwakiutl  Indians  are  derived  from  the  works  of  Dr. 
Franz  Boas,  the  authority  on  this  subject. 

[  298 1 


KWAKIUTL 


agination.  Though  their  carved  canoes  seek  no  new  lands,  yet 
well  might  the  Indians  of  the  Northwest  coast  be  called  the  sea- 
kings  of  America. 


THE  STORY  OF  WAKIASH  AND  THE  FIRST  TOTEM-POLE 

Told  by  Kialish  (Charles  James  Nowell) 


HERE  was  once  a  chief  named  Wakiash,  and  he  was 

T  named  after  the  river  Wakiash  because  he  was  open- 
handed,  flowing  with  gifts  even  as  the  river  flowed  with 
fish.  It  happened  on  a  time  that  all  the  tribe  were 
having  a  big  dance.  Wakiash  had  never  had  any  kind  of  dance  of 
his  own,  and  he  was  unhappy  because  all  the  other  chiefs  of  the 
tribe  had  fine  dances.  So  he  thought  to  himself,  “I  will  go  up 
into  the  mountains  to  fast/*  And  he  made  himself  ready,  and  went 
up  into  the  mountains  and  stayed  there  four  days,  fasting  and 
bathing.  On  the  fourth  day,  early  in  the  morning,  he  grew  so 
weary  that  he  lay  upon  his  back  and  fell  asleep;  and  then  he  felt 

something  that  came 
upon  his  breast  and 
woke  him.  It  was  a 
little  green  frog.  The 
frog  said,  “Wake  up, 
that  you  may  see  where 
you  are  going.” 

Wakiash  opened  his 
eyes  and  saw  that  the 
frog  was  on  his  breast. 
The  frog  said,  “Lie  still 
as  you  are,  because  you 
are  on  the  back  of  a 
raven  that  is  going  to 
fly  with  you  around  the 
world,  so  that  you  may  see  what  you  want,  and  take  it.”  And 
the  frog  said  that  he  would  stay  with  the  man  till  they  came  back 

[299] 


This  drawing  by  a  Kwakiutl  Indian  represents  the  carved 
rattle  used  in  the  Kfawulacfta  dance  and  song.  It  shows 
Wakiash  on  the  raven's  back  with  the  frog  upon  his  breast. 
The  line  from  the  mouth  of  the  frog  to  that  of  Wakiash  indi¬ 
cates  that  the  frog  is  talking  to  the  man. 


THE  INDIANS'  BOOK 


again  to  the  same  place*  Then  the  frog  told  the  man  to  get  ready, 
and  bade  the  raven  to  start. 

The  raven  flew  and  carried  the  man  around  the  world  and 
showed  him  all  the  things  of  the  world.  They  flew  four  days,  and 
when  they  were  on  their  way  back  Wakiash  saw  a  house  with  a 
beautiful  totem-pole  in  front,  and  heard  a  noise  of  singing  inside 
the  house.  He  thought  to  himself  that  these  were  fine  things, 
and  he  wished  that  he  might  take  them  with  him.  Now  the  frog 
knew  his  thoughts  and  told  the  raven  to  stop.  So  the  raven  stopped 
and  the  frog  told  the  man  to  hide  himself  behind  the  door.  The 
man  did  as  the  frog  told  him,  and  the  frog  said,  “Stay  here,  and 
when  they  begin  to  dance,  leap  out  into  the  room." 

The  people  tried  to  begin  a  dance,  but  could  do  nothing — they 
could  neither  dance  nor  sing.  One  of  them  stood  up  and  said, 
“There  is  something  the  matter  with  us;  there  must  be  something 
near  us  that  makes  us  feel  like  this."  And  the  chief  said,  “  Let  one 
of  us,  who  can  run  faster  than  the  flames  of  the  fire,  go  around 
the  house  and  see."  So  the  little  mouse  came  and  said  that  she 
would  go,  for  she  could  go  anywhere,  even  into  a  box,  and  if  any 
one  were  hiding  she  could  find  him.  The  mouse  was  in  the  form 
of  a  woman,  because  she  had  taken  off  her  mouse-skin  clothes; 
indeed,  all  the  people  in  the  house  were  animals,  and  their  chief 
was  the  beaver,  but  they  had  taken  off  their  animal-skin  clothes 
to  dance,  and  so  they  looked  like  men. 

The  mouse  ran  out,  and  Wakiash  caught  her  and  said,  “Ha,  my 
friend,  wait  here  and  I  will  make  you  a  gift."  And  he  gave  the 
mouse  a  piece  of  mountain-goat's  fat.  Now  this  mouse  was  so 
pleased  with  Wakiash  that  she  talked  with  him  and  asked  him  what 
he  wanted,  and  Wakiash  said  that  he  wanted  the  totem-pole,  the 
house,  and  the  kind  of  dances  and  songs  that  belonged  to  them. 
The  mouse  said,  “Stay  here,  and  wait  till  I  come  again." 

Wakiash  stayed,  and  the  mouse  went  in  and  said  to  the  people, 
“I  have  been  everywhere  to  find  if  there  were  a  man  about,  but  I 
could  find  nobody."  And  the  chief  said,  “Now  let  us  try  again  to 
dance."  They  tried  three  times  before  they  could  do  anything, 
and  they  sent  out  the  mouse  each  time  to  see  what  she  could  find. 
But  each  time  the  mouse  was  sent  out  she  talked  with  Wakiash; 

r  3001 


Klalish  in  Ceremonial  Costume  A  Kwakiutl  Chief  Standing  before  His  Canoe,  Holding  Carved 


KWAKIUTL 


and  the  third  time  that  she  went  oat  she  said,  “Now  make  ready, 
and  when  they  begin  to  dance,  leap  into  the  room.” 

Then  the  mouse  went  back  to  the  animals  and  told  them  that 
she  could  find  no  one,  and  so  they  began  to  dance,  and  just  then 
Wakiash  sprang  in.  At  once  the  dancers  dropped  their  heads 
for  shame,  because  a  man  had  seen  them  looking  like  men, 
whereas  they  were  really  animals.  And  they  stood  silent  for  some 
time,  till  at  last  the  mouse  began  to  speak  and  said:  “Let  us  not 
wait  thus;  let  us  ask  our  friend  what  he  wants.  He  must  want 
something  or  he  would  not  come  here.”  So  they  all  lifted  up  their 
heads,  and  the  chief  asked  the  man  what  he  wanted.  Wakiash 
thought  to  himself  that  he  would  like  to  have  the  dance,  because 
he  had  never  had  one  of  his  own,  though  all  the  other  chiefs  had 
dances.  Also  he  wanted  the  house,  and  the  totem-pole  that  he 
had  seen  outside.  Though  the  man  did  not  speak,  the  mouse 
heard  his  thoughts  and  told  the  people.  And  the  chief  said,  “Let 
our  friend  sit  down  and  we  will  show  him  how  we  dance,  and  he 
can  pick  out  whatsoever  kind  of  dance  he  wants.” 

So  they  began  to  dance,  and  when  they  had  ended  the  chief 
asked  Wakiash  what  kind  of  dance  he  would  like.  They  were 
using  all  sorts  of  masks.  Wakiash  wanted  most  of  all  the  Echo 
mask,  and  the  mask  of  the  Little  Man  that  goes  about  the  house 
talking,  talking,  and  trying  to  quarrel  with  others.  Wakiash  only 
thought  to  himself;  the  mouse  told  the  chief  his  thoughts.  So 
the  animals  taught  Wakiash  all  their  dances,  and  the  chief  told 
him  that  he  might  take  as  many  dances  and  masks  as  he  wished, 
also  the  house  and  the  totem-pole.  The  chief  said  to  Wakiash  that 
these  things  would  all  go  with  him  when  he  went  home,  and  that 
he  should  use  them  all  in  one  dance;  also  that  he  should  thence¬ 
forth  have,  for  his  own,  the  name  of  the  totem-pole,  Kalakuyuwish, 
meaning  sky-pole,  because  the  pole  was  so  tall.  So  the  chief  took 
the  house  and  folded  it  up  in  a  little  bundle.  He  put  it  in  the  head¬ 
dress  of  one  of  the  dancers,  and  this  he  gave  to  Wakiash,  saying, 
“When  you  reach  home,  throw  down  this  bundle;  the  house  will 
become  as  it  was  when  you  first  saw  it,  and  then  you  can  begin  to 
give  a  dance.” 

Wakiash  went  back  to  the  raven,  and  the  raven  flew  away  with 

[301] 


THE  INDIANS'  BOOK 


him  towards  the  mountain  from  which  they  had  set  out;  but  before 
they  arrived  there  Wakiash  fell  asleep,  and  when  he  awoke  the 
raven  and  the  frog  were  gone  and  he  was  all  alone.  Then  he  started 
for  home,  and  when  he  got  there  it  was  night,  and  he  threw  down 
the  bundle  that  was  in  the  head-dress,  and  there  was  the  house 
with  its  totem-pole!  The  whale  painted  on  the  house  was  blowing, 
the  animals  carved  on  the  totem -pole  were  making  their  noises, 
and  all  the  masks  inside  the  house  were  talking  and  crying  aloud. 
At  once  Wakiash's  people  awoke  and  came  out  to  see  what  was 
happening,  and  Wakiash  found  that  instead  of  four  days  he  had 
been  away  four  years.  They  went  into  the  house,  and  Wakiash 
began  to  make  a  dance;  he  taught  the  people  the  songs,  and  they 
sang,  and  Wakiash  danced,  and  then  the  Echo  came,  and  who¬ 
soever  made  a  noise  the  Echo  made  the  same,  changing  its  mouths1. 
When  they  had  finished  dancing  the  house  was  gone;  it  went  back 
to  the  animals.  And  all  the  chiefs  were  ashamed  because  Wakiash 
now  had  the  best  dance. 

Then  Wakiash  made,  out  of  wood,  a  house  and  masks  and  a 
totem -pole;  and  when  the  totem -pole  was  finished  the  people 
made  a  song  for  it.  This  totem-pole  was  the  first  that  this  tribe 
had  ever  had;  the  animals  had  named  it  Kalakayitwish,  “the  pole 
that  holds  up  the  sky/"  and  they  said  that  it  made  a  creaking  noise 
because  the  sky  was  so  heavy.  And  Wakiash  took  for  his  own 
the  name  of  the  totem-pole,  Kalakuyuwish. 

KLAWULACHA 

Song  of  the  Totem-Pole.  In  praise  of  Wakiash  Kalakuyuwish 
Sung  by  Klalish  (Charles  James  Nowell) 

KLAWULAC7/A  SONG  OF  THE  TOTEM-POLE 

Waw  haw  le  Now  doth  it  rise,  our  river; 

Pulnakwila  kiash  ila  koi  Our  river  is  Wakiash,  good  is  he. 

Wakiash  kiash  o  wa 
Ya  choi 

1  Alluding  to  different  mouth-nieces  that  fit  into  the  echo-mask. 

[302] 


KWAKIUTL 


Waw  haw  le  Now  doth  it  creak,  this  totem-pole; 

Hitlpalkwala  kyilish  Clouds  rest  on  its  top. 

Kiash  ila  koi  Kalakuyuwish,  great  as  the  sky-pole  is  he  ! 

Kalakuyuwish  kiash  o  wa 
Lac/mahkwulla 
Ya  choi 


CRADLE-SONG 

HE  Kwakiutl  baby  hangs  in  his  cradle  from  a  cross-beam 
in  a  comer  of  the  house*  A  cord  is  attached  to  the  cradlet 
and  the  mother  rocks  her  baby  by  pulling  on  the  cord. 
To  and  fro  swings  the  cradle,  to  and  fro,  while  the  mother 
sings  a  lullaby. 

Sometimes  the  cradle  is  hung  from  a  long  pole,  one  end  of  which 
is  fixed  aslant  in  the  ground  while  the  middle  rests  on  a  forked 
stick  set  upright  in  the  earth.  The  cradle  hangs  from  the  free, 
flexible  end  of  the  pole,  and  instead  of  swinging  to  and  fro,  it  springs 
up  and  down  with  the  mother’s  touch  upon  the  cord — up  and  down, 
up  and  down,  while  the  mother  sings  a  lullaby. 


Ca,  &3h€jL.  -  *S CT-t'i 


IIWBTI 


SOUTHWESTERN  INDIANS  TITLE-PAGE 

The  designs  are  copies  of  decorations  on  Southwestern  prehistoric 
pottery.  These  copies  were  painted  free-hand  by  Pueblo  Ind¬ 
ians  of  Laguna,  New  Mexico.  The  uppermost  design  has  for 
its  central  figure  a  cloud-form;  the  dots  on  the  line  below  are 
grains  of  corn,  and  the  design  immediately  beneath  represents 
"  the  young  corn-shoots.  At  the  bottom  of  the  page  is  seen  the 
corn-stalk  with  its  joints.  Corn  might  almost  be  called  a  sym¬ 
bol  of  the  life  of:  the  Southwestern  Indians,  who  are,  before  all 
else,  agriculturalists. 

The  lettering  is  by  Hinook  Mahiwi  Kilinaka  (Angel  De  Cora). 


» 


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PIMA  TITLE-PAGE 

The  design  is  a  copy  of  a  typical  Pima  basket,  and  was  drawn 
free-hand  by  Ataloya,  a  Pima  Indian  girl.  £ 

The  lettering  is  by  Hinook  Mahiwi  Kilinaka  (Angel  De  Cora). 
The  letters  suggest  the  motives  in  the  basket  design;  the  border 
of  the  page  is  the  figure  of  the  running  swastika,  seen  also  in  the 
basket.  The  Pimas  are  skilled  basket-makers. 


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sx?J  iA  oak  n.338  ,6?H3«s*wa  *««:.•.  <\  srit  io  sift'  ei  sgfiq  wt*  lo 


THE  PIMAS 


N  the  deserts  of  southern  Arizona  the  Pima  Indians  have 
their  home*  Though  brave,  the  Pimas  never  were  ag¬ 
gressive  fighters*  So  far  as  known,  the  life  of  this  ancient 
people  always  has  been  one  of  agriculture  and  simple 
industry.  Through  a  native  system  of  irrigation,  they  raise  the 
crops  that  are  their  sustenance.  Formerly  they  grew  cotton  also, 
which  they  wove  and  dyed.  This  industry  is  now  abandoned,  but 
the  beautiful  art  of  basket-weaving  still  survives. 

It  is  thought  that  in  olden  times  the  people  lived  in  villages  of 
adobe  with  strongholds  of  defence.  Indeed,  it  is  said  that  the  ruins 
of  Casa  Grande  and  other  similar  ones  in  Arizona  are  those  of  an¬ 
cient  Pima  buildings. 

Because  of  their  gentle  and  submissive  disposition,  the  Pimas 
never  have  offered  much  resistance  to  the  white  man.  Though 
to-day  the  dwellings  still  are  native  houses  of  adobe  and  woven 
saplings;  though,  as  of  old,  the  life  is  that  of  agriculture,  yet  all 
trace  of  native  dress  has  vanished,  and  of  the  old  customs  little 
is  left — dances  and  ceremonies  are  gone,  and  to  the  younger  genera¬ 
tion  the  songs  are  wellnigh  utterly  lost.  Yet  Pima  mythology  is 
full  of  beauty  and  poetry,  and  the  music  has  plaintive  individuality. 

That  The  Indians'  Book  might  hold  some  record  of  the  fast-vanish¬ 
ing  Pima  lore,  an  aged  Pima  chief  was  sought  out  for  a  contribution. 

His  face  and  mien  had  the  grave  sadness,  the  retrospective 
melancholy  of  the  old  Indian. 

“We  are  glad,  indeed,  to  sing  our  songs  for  you,"  said  the  chief, 

NOTE  FOR  PRONUNCIATION  OF  PIMA  TEXT 

Unless  otherwise  indicated,  vowels  have  the  Continental  sound  and  consonants 
the  English. 


[313] 


THE  INDIANS'  BOOK 


**  for  thus  we  can  hear  them  again  ourselves.  On  our  reservation 
no  man  dares  to  sing.  It  is  as  you  say — soon  all  the  songs  will  be 
forgotten.  White  people  do  not  like  us  to  sing  Indian  songs.  They 
think  our  songs  are  bad.  We  are  glad  you  say  they  are  good." 

"And  how  did  you  make  your  songs?"  the  chief  was  asked. 

"We  dreamed  them/'  was  the  answer.  " When  a  man  would  go 
away  by  himself — off  into  solitude — then  he  would  dream  a  song." 

"And  do  the  men  still  dream  songs?" 

"If  they  do.  they  do  not  tell.  White  people  do  not  like  it. 
But  if  a  man  has  dreamed  a  song,  he  may  take  another  man  quietly 
aside  and  teach  the  song  to  him.  His  song  will  not  so  soon  be  for¬ 
gotten  if  one  other  has  it  as  well  as  he  himself.  But  he  dares  not 
sing  for  many.  White  people  say  our  dances  and  our  songs  are  not 
good.  We  are  glad  that  you  say  it  is  no  harm  for  us  to  sing." 

"It  is  no  harm,  but  good  for  you  to  sing.  When  a  man  sings, 
we  know  his  heart  is  happy." 

"It  is  well  that  you  have  come  to  do  this  thing  for  us.  but  we 
have  not  much  money  to  offer  you  in  return.  The  white  people 
living  up  above  us  on  the  river  have  taken  all  the  water,  so  that 
our  fields  are  dry.  We  are  poor." 

"A  task  that  is  done  in  friendship  asks  only  friendship  in  return. 
Do  not  be  sad.  When  the  songs  are  written,  perhaps  white  people 
will  no  longer  think  them  bad." 

The  chief  dropped  his  head  in  thought.  "I  will  sing."  he  said, 
"an  old.  old  song — a  song  sung  by  the  Creator  at  the  beginning 
of  the  world.  I  am  a  medicine-man.1  and  I  know  all  the  stories  and 
songs  of  my  people.  I  will  tell  you  the  story  of  how  the  world 
was  made.  The  story  tells  of  the  beginning  of  all  things,  and  there 
are  many  songs  in  the  story.  To  tell  it  rightly  and  to  sing  all  the 
songs  would  take  all  night  and  longer.  So  I  will  only  tell  you. 
shortly,  just  a  part  of  it.  and  sing  you  the  one  song.  I  am  glad  to 
tell  this  now  to  you.  It  will  keep  me  from  forgetting  it.  Leave 
me  now.  and  come  back  when  I  have  thought  more  over  it." 

Later,  in  the  shadow  of  afternoon,  the  old  chief  told  the  story 
of  the  beginning  of  the  world. 


See  “  The  Holy  Man,”  page  32. 
[314] 


PIMA 


CHUHWUHT 

Song  of  the  World 

Sang  and  told  by  Chief  Visak-Vo-o-yim  (Hovering  Hawk) 

N  the  beginning  there  was  only  darkness  everywhere — 
darkness  and  water.  And  the  darkness  gathered  thick 
in  places,  crowding  together  and  then  separating,  crowd¬ 
ing  and  separating  until  at  last  out  of  one  of  the  places 
where  the  darkness  had  crowded  there  came  forth  a  man.  This 
man  wandered  through  the  darkness  until  he  began  to  think;  then 
he  knew  himself  and  that  he  was  a  man;  he  knew  that  he  was  there 
for  some  purpose. 

He  put  his  hand  over  his  heart  and  drew  forth  a  large  stick.  He 
used  the  stick  to  help  him  through  the  darkness,  and  when  he  was 
weary  he  rested  upon  it.  Then  he  made  for  himself  little  ants;  he 
brought  them  from  his  body  and  put  them  on  the  stick.  Every¬ 
thing  that  he  made  he  drew  from  his  own  body  even  as  he  had  drawn 
the  stick  from  his  heart.  The  stick  was  of  grease-wood,  and  of  the 
gum  of  the  wood  the  ants  made  a  round  ball  upon  the  stick.  Then 
the  man  took  the  ball  from  the  stick  and  put  it  down  in  the  darkness 
under  his  foot,  and  as  he  stood  upon  the  ball  he  rolled  it  under  his 
foot  and  sang: 

"  I  make  the  world,  and  lo ! 

The  world  is  finished. 

Thus  I  make  the  world,  and  lo  1 
The  world  is  finished." 

So  he  sang,  calling  himself  the  maker  of  the  world.1  He  sang 
slowly,  and  all  the  while  the  ball  grew  larger  as  he  rolled  it,  till  at 
the  end  of  his  song,  behold,  it  was  the  world.  Then  he  sang  more 
quickly: 

"Let  it  go,  let  it  go. 

Let  it  go,  start  it  forth  V* 

1  The  story  is  striking  because  of  the  conception  of  the  world  as  a  round  ball,  rolled 
beneath  the  foot  of  the  Creator  and  then  started  going.  Also  because  the  heavenly  bodies  are 
conceived  to  be  made  of  rock. 


f  3157 


THE  INDIANS'  BOOK 


So  the  world  was  made,  and  now  the  man  brought  from  him¬ 
self  a  rock  and  divided  it  into  little  pieces.  Of  these  he  made  stars, 
and  put  them  in  the  sky  to  light  the  darkness.  But  the  stars  were 
not  bright  enough. 

So  he  made  Tau-muk,  the  milky-way.  Yet  Tau-muk  was  not 
bright  enough.  Then  he  made  the  moon.  All  these  he  made  of 
rocks  drawn  forth  from  himself.  But  even  the  moon  was  not  bright 
enough.  So  he  began  to  wonder  what  next  he  could  do.  He  could 
bring  nothing  from  himself  that  could  lighten  the  darkness. 

Then  he  thought.  And  from  himself  he  made  two  large  bowls, 
and  he  filled  the  one  with  water  and  covered  it  with  the  other.  He 
sat  and  watched  the  bowls,  and  while  he  watched  he  wished  that 
what  he  wanted  to  make  in  very  truth  would  come  to  be.  And 
it  was  even  as  he  wished.  For  the  water  in  the  bowl  turned  into 
the  sun  and  shone  out  in  rays  through  the  cracks  where  the  bowls 
joined. 

When  the  sun  was  made,  the  man  lifted  off  the  top  bowl  and 
took  out  the  sun  and  threw  it  to  the  east.  But  the  sun  did  not 
touch  the  ground;  it  stayed  in  the  sky  where  he  threw  it  and  never 
moved.  Then  in  the  same  way  he  threw  the  sun  to  the  north  and 
to  the  west  and  to  the  south.  But  each  time  it  only  stayed  in  the 
sky,  motionless,  for  it  never  touched  the  ground.  Then  he  threw 
it  once  more  to  the  east,  and  this  time  it  touched  the  ground  and 
bounced  and  started  upward.  Since  then  the  sun  has  never  ceased 
to  move.  It  goes  around  the  world  in  a  day,  but  every  morning 
it  must  bounce  anew  in  the  east. 


CHUHWUHT 


SONG  OF  THE  WORLD 


Chuhwuht-tuh  maka-i, 
Chuhwuht-tuh  nato- — 
Chuhwuht-tuh  maka-i 
Chuhwuht-tuh  nato — 
Himalo,  himalo, 
Himalo,  himicho  ! 


I  make  the  world,  and  lo  ! 

The  world  is  finished. 

Thus  I  make  the  world,  and  lo ! 
The  world  is  finished. 

Let  it  go,  let  it  go. 

Let  it  go,  start  it  forth  ! 


[316] 


A  Daughter  of  the  Desert 


PIMA 


CHUHTEK-OHOHIK  NIEH 


Bluebird  Song 

Sung  by  Katarina  Valenzuela 

This  is  a  dance-song.  It  is  the  lament  of  a  bluebird  for  his  lost 
song.  Nearly  all  the  Pima  dance-songs  are  named  after  birds. 


CHUHTEK-OHOHIK  NIEH 

Hai-ya,  hai-ya — hai-ya,  hai-ya — 
Nieh  ha  nieh  va  yo-hu-ka 
Cheh  wahl  ohi  nieh-nieh 
Va  ha  maw-haw  va  yu-ka 
Cheh  wahl  ohi  nieh-nieh 
Va  ha  maw-haw  va  yu-ka. 


BLUEBIRD  SONG 

Hai-ya,  hai-ya — hai-ya,  hai-ya- 
All  my  song  is  lost  and  gone. 
Sad  at  heart  is  the  bluebird. 
All  my  song  is  lost  and  gone. 
Woe  is  me,  alas  !  alas  ! 

All  my  song  is  lost  and  gone  I 


HUHWUHLI  NIEH 


Wind  -  Song  (Medicine  -  Song) 

Sung  by  Hal  Antonio 

HUHWUHLI  NIEH  WIND-SONG 


Hanam-a  yo-osik-a 
Ya-hai  huh-wurt 
Kani-hu-va  muh-muhk 
Ka-cho-wuch-chi  kano  ya  ki-moi 


Far  on  the  desert  ridges 
Stands  the  cactus; 

Lo,  the  blossoms  swaying 

To  and  fro,  the  blossoms  swaying,  swaying. 


APACHE  TITLE-PAGE 


The  design  shows  an  Apache  dancer,  painted  by  an  Apache 
Indian,  Gumanchia  (Rivers  Lavender).  The  dancer  is  in  cere¬ 
monial  dress,  and  wears  a  symbolic  head-dress,  and  a  black 
mask  of  buckskin. 

The  lettering  is  by  Hinook  Mahiwi  Kilinaka  (Angel  De  Cora). 


-3.11  Vf  KKjj^Lr 


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"  MDfilcT'ls  bo£‘  ^esTC-Dosn  ouodmya  s  axesw  c ns  a&sntb  I-einom 

*ijiit5i3«d_io,Aa£xci 


- 


4- a.  -  cl«-  dlii  '••e 


THE  APACHES 


HE  Apaches,  a  tribe  of  Athapascan  stock,  have  their 
home  in  New  Mexico  and  Arizona.  They  are  related 
to  the  Navajos  and  speak  a  similar  tongue.  The  name 
“Apache”  is  a  Yuma  Indian  word  meaning  “fighting- 
men,”  and  was  probably  given  to  the  Apaches  by  neighboring 
tribes  of  Yuman  stock. 

The  acquisition  by  the  United  States  of  new  territory  at  the 
close  of  the  Mexican  War,  and  the  discovery  of  gold  in  California 
in  the  year  1849,  brought  more  and  more  white  emigrants  through 
New  Mexico  and  Arizona.  The  fierce,  intrepid  Apaches  resisted 
with  open  hostility  the  encroachment  of  the  whites,  and  for  a  long 
period  of  years  there  were  bloody  clashings.  The  Indian  war 
leaders  and  warriors  showed  not  only  daring  and  cruelty,  but  also 
extraordinary  skill  and  strategy  in  warfare,  and  endurance  that 
seemed  inexhaustible.  The  tribe  was  finally  subdued,  and  has 
been  placed  on  reservations,  but  the  old  invincible  spirit  is  still 
shown  to-day  by  an  energy  and  fire  which  should  make  of  the 
Apaches  a  people  strong  and  hardy  in  the  new  life  of  industry. 


GERONIMO 


ERONIMO  is  perhaps  the  most  famous  of  Apache  war- 
leaders.  He  and  his  followers  long  withstood  and  evaded 
the  United  States  troops,  and  were  captured  at  the  last 
only  by  the  aid  of  other  Indians — scouts  employed  in 
the  army.  Geronimo  is  now  between  seventy  and  eighty  years 
of  age,  but  he  bears  himself  with  the  erectness  of  the  Indian  warrior. 


NOTE  FOR  PRONUNCIATION  OF  APACHE  TEXT 


Unless  otherwise  indicated,  vowels  have  the  Continental  sound,  and  consonants 
the  English. 

ch,  in  italic,  is  a  guttural,  like  ch  in  German. 

[323] 


THE  INDIANS'  BOOK 


and  in  his  eye  is  still  the  tiger-flash.1  Among  his  people  he  is 
famed  as  Chief  and  Holy  Man  (Man  of  Medicine).2 

Said  Geronimo:  “The  song  that  I  will  sing  is  an  old  song,  so  old 
that  none  knows  who  made  it.  It  has  been  handed  down  through 
generations  and  was  taught  to  me  when  I  was  but  a  little  lad.  It 
is  now  my  own  song.  It  belongs  to  me. 

“This  is  a  holy  song  (medicine-song),  and  great  is  its  power.  The 
song  tells  how,  as  I  sing,  I  go  through  the  air  to  a  holy  place  where 
Yusun  !  will  give  me  power  to  do  wonderful  things.  I  am  sur¬ 
rounded  by  little  clouds,  and 
as  I  go  through  the  air  I  change, 
becoming  spirit  only." 

Geronimo  drew  an  illustra¬ 
tion  of  his  song,  showing  him¬ 
self  passing  through  the  sky  to 
the  holy  place.  His  changed 
form  is  symbolized  by  a  circle, 
and  this  is  surrounded  by  a 
“kind  of  air” — a  mystic  aureole.  The  holy  place  is  symbolized  by 
the  sun,  which  is  decorated  with  a  homed  head-dress  emblematic  of 
divine  power.  Such  head-dress  is  the  insignia  of  the  Holy  Man. 

MEDICINE-SONG 

Sting  by  Geronimo 

Q,  ha  le 
Q,  ha  le  ! 

Through  the  air 
I  fly  upon  a  cloud 
Towards  the  sky,  far,  far,  far, 

O,  ha  le 
O,  ha  le  ! 

There  to  find  the  holy  place. 

Ah,  now  the  change  comes  o’er  me  1 
O,  ha  le 
O,  ha  le  ! 

1  Since  contributing  to  “  The  Indians’  Book,”  Geronimo  has  dictated  an  autobiography, 
“Geronimo’s  Story  of  His  Life.”  Taken  down  and  edited  by  S.  M.  Barrett,  Superintendent 
of  Education,  Lawton,  Oklahoma.  New  York  :  Duffield  &  Co.,  1906. 

2  See  “  The  Holy  Man,”  page  32.  3  The  Supreme  Being. 


O,  ha  le 
O,  ha  le  ! 

Awbizhaye 

Shic/il  hadahiyago  niniya 
O,  ha  le 
O,  ha  le  ! 

Tsago  degi  naleya 
Ah — yu  whi  ye  ! 

O,  ha  le 
O,  ha  le  ! 


[324] 


Geronimo 


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THE  MOJAVE-APACHES 


HE  Mojave- Apaches  are  a  band  of  Mojave  Indians  whose 
original  home  was  in  the  Verde  Valley  of  Arizona.  Like 
the  Apaches,  these  Indians  were  hostile  to  American  in¬ 
vasion  of  their  land.  In  about  the  year  1874  they  were 
conquered  and  placed  with  the  Apaches  on  a  reservation  in  San 
Carlos  County,  Arizona,  and  accordingly  are  known  as  Mojave- 
Apaches. 

On  their  removal  to  San  Carlos,  these  Indians  were  promised 
that  if  they  would  remain  there  peacefully  and  adopt  the  white 
man's  ways,  they  should  be  allowed,  when  civilized,  to  return  to 
their  land,  there  to  resume  their  life  of  agriculture.  The  Indians 
faithfully  kept  the  pledge,  but  when,  after  twenty-nine  years,  they 
were  allowed  to  leave  San  Carlos,  they  found  their  land  in  the  Verde 
Valley  completely  taken  up  by  white  settlers.  In  piteous  poverty 
they  waited  in  the  mountains,  sending  appeal  on  appeal  to  Wash¬ 
ington.  Four  years  they  waited  with  the  natural  trust  of  an  Indian 
that  a  promise  made  would  be  fulfilled.  At  last  help  came  to  them 
from  a  private  citizen,  Mr.  Frank  Mead,  who  found  them  starving, 
with  winter  coming  on.  Mr.  Mead  brought  the  matter  directly  to 
President  Roosevelt,  and  obtained  the  power  to  buy  for  the  Indians, 
from  the  settlers,  a  fertile  tract  of  country  in  the  Verde  Valley. 
So  the  Mojave- Apaches  came  into  their  own  again,  and  on  Christmas 
Day,  in  the  year  1903,  the  land  was  divided  among  them.  That 
night  the  Indians  gave  a  dance  in  honor  of  their  “Savior,”  as  they 
called  Mr.  Mead,  and  in  thanksgiving  for  their  land.  “We  have 
our  homes;  we  are  men  again,”  they  said.  Beneath  the  moon  on 
the  open  desert  they  danced  in  a  wide  circle  around  a  fire  of 
blazing  logs.  The  recorder  was  present  at  the  time,  and  so  two  of 
the  dance-songs  then  sung  are  preserved  in  The  Indians'  Book. 

[  329  ] 


21 


THE  INDIANS'  BOOK 


THE  STORY  OF  GOMOIDEMA  POKOMA-KIAKA 

The  First  Woman  who  made  the  Son  of  God 

ANY  years  ago  we  lived  not  here  upon  this  earth  but 
down  under  the  ground.  And  there  came  a  time  when 
we  had  no  fruit  and  there  was  nothing  to  eat.  So  we 
sent  the  humming-bird  to  see  what  he  could  find,  Where- 
ever  he  might  find  fruit  or  food  of  any  kind,  there  the  people  would 
go.  He  flew  up  into  the  sky,  and  there  he  saw  a  grape-vine  that 
had  its  roots  in  the  underworld  and  grew  up  through  a  hole  in  the 
middle  of  the  sky  into  the  upper  world.  The  humming-bird  saw 
the  hole  in  the  sky  and  flew  through  it,  and  came  to  a  land  where 
mescal  and  fruits  and  flowers  of  all  kinds  were  growing.  It  was 
a  good  land.  It  was  this  world. 

So  the  humming-bird  flew  back  and  told  the  people  that  he  had 
seen  a  beautiful  country  above.  “Let  us  all  go  up  there/'  he  said. 
So  they  all  went  up,  climbing  on  the  grape-vine.  They  climbed 
without  stopping  until  they  had  come  out  through  the  hole  in  the 
sky  into  the  upper  world.  But  they  left  behind  them  in  the  under¬ 
world  the  frog-folk,  who  were  blind.  Now  when  the  people  had 
lived  for  a  while  in  that  land  they  heard  a  noise,  and  they  won¬ 
dered  at  it  and  sent  a  man  to  look  down  the  hole,  through  which 
they  had  come,  to  see  what  made  the  noise.  The  man  looked  and 
saw  that  waters  were  rising  from  the  underworld  and  were  already 
so  high  that  they  nearly  reached  the  mouth  of  the  hole.  The  people 
said,  “The  blind  frogs  below  have  made  this  flood,  and  if  it  rises 
out  of  the  hole  it  will  wash  us  all  away/'  So  they  took  counsel 
together,  and  then  they  hollowed  out  a  tree  like  a  trough  and  put 
into  it  plenty  of  fruits  and  blankets.  They  chose  a  beautiful  maiden 
and  laid  her  in  the  trough,  and  closed  it  up  and  said,  “Now  if  the 
waters  come  and  we  are  all  washed  away,  she  will  be  saved  alive/' 

The  flood  came  up  through  the  hole,  and  the  people  ran  to  the 
mountains,  but  though  the  mountains  were  high  the  waters  rose 
over  them. 

The  trough  floated  like  a  boat,  and  the  flood  kept  rising,  till 

[330] 


MOJAVE-APACHE 


at  last  it  nearly  touched  the  sky*  Still  the  waters  rose  till  the 
waves  dashed  the  trough  against  the  skyt  where  it  struck  with  a 
loud  noise.  It  struck  first  to  the  south,  then  to  the  west,  then  to 
the  north,  then  nearly  to  the  east.  Then  the  flood  began  to  go 
down. 

The  people  had  said  to  the  woman,  “If  you  hear  the  waters 
going  down,  wait  till  the  trough  rests  on  the  earth,  then  make  a 
little  opening  and  look  around  you.” 

When  the  trough  rested  on  the  ground  the  woman  opened  it  and 
went  out.  She  looked  all  around  her,  over  all  the  world,  but  saw 
no  one.  All  the  people  had  been  drowned.  Then  the  woman 
thought,  “How  can  I  bear  children  and  make  a  new  people?” 

She  went  up  into  the  mountains  early,  before  sunrise,  and  lay 
there  alone.  Then  the  daylight  came  and  the  beams  from  the 
sun  shone  warm  upon  the  woman,  and  the  water  dripped  from  the 
crag,  and  in  this  way  she  conceived,  and  bore  a  daughter.  When 
the  child  was  grown  to  maidenhood  the  mother  said  to  her,  “Do 
you  know,  my  daughter,  how  you  came  to  be?”  And  the  maid 
said,  “No.” 

“I  will  show  you,”  said  the  mother. 

So  she  led  her  daughter  up  into  the  mountains,  and  bade  her  lie 
down  as  she  herself  had  lain.  And  the  maid  lay  on  the  mountain 
all  day.  Next  morning  early,  before  sunrise,  the  mother  went  to 
her,  and  she  lay  down  upon  her  daughter  and  looked  at  the  sun. 
Then  she  quickly  sprang  up,  and  in  this  way  the  maiden  conceived 
of  the  sun,  and  the  child  that  she  bore  was  the  Son  of  God — Sekala 
Ka-amja,  “  The-One-Who-Never-Died.” 

THE  DEATHLESS  ONE  AND  THE  WIND 

HE  Son  of  God,  the  Deathless  One,  had  a  wife,  and  she 
was  a  good  woman.  One  day  she  went  out  to  gather 
fruit,  and  the  Hot  Wind  saw  her  and  stole  her  away. 
The  Deathless  One  found  the  Wind's  trail,  and  knew 
the  footprints;  so  he  went  home  to  his  grandmother,  the  First 
Woman,  and  said,  “I  have  seen  the  trail  of  the  Wind  who  has  stolen 

my  wife,  and  I  am  going  to  follow  him.”  So  the  Deathless  One 

[331] 


THE  INDIANS’  BOOK  * 

followed  the  trail  until  he  came  upon  some  people  who  lived  close 
beside  itt  and  he  asked  of  them,  44 Have  you  seen  any  one  pass?” 

44  Yes,”  said  the  people,  44  the  Wind  passed  by  a  short  time  ago, 
and  with  him  went  a  beautiful  woman.”  Also  they  said,  44  The 
Wind  is  a  great  pole-player.1  He  has  beaten  every  one,  and  has 
won  all  the  people.  Stop  for  a  while  and  we  will  tell  you  how  the 
Wind  plays.  If  you  let  him  play  with  his  own  pole,  he  will  beat 
you  and  put  you  with  the  rest  of  the  men,  women,  and  children 
that  he  has  won.  But  if  you  will  wait  we  will  make  you  two  good 
poles  to  play  with,  and  then  perhaps  you  will  beat  the  Wind  and 
win  back  the  people  and  set  them  free.” 

So  they  made  good  poles  for  him,  and  the  Deathless  One  went 
on  until  he  came  to  the  Wind’s  lodge  that  was  made  of  willow¬ 
brush,  and  there,  inside,  sitting  with  the  Wind,  he  saw  his  wife. 

44 Ho,  friend!”  said  the  Wind,  44 will  you  play  pole  with  me?” 

44  Yes,”  said  the  Deathless  One.  44  That  is  why  I  have  come.” 

The  Deathless  One  looked  at  the  Wind’s  pole;  it  was  not  made 
of  wood,  but  of  a  dead  man’s  thigh-bone.  He  did  not  want  to 
play  with  the  bone  pole.  Then  he  said  to  the  Wind,  44  Give  me 
your  ring  that  I  may  look  at  it.”  He  took  the  ring  and  knew 
that  it  was  made  of  a  live  snake,  for  he  saw  the  gleam  of  its  eyes. 
He  had  pins2  in  his  hand,  and  with  these  he  pierced  the  eyes  of  the 
snake,  and  gave  back  the  ring  to  the  Wind.  The  Wind  tried  to 
throw  the  ring,  but  he  could  not,  because  it  was  dead.  He  tried 
again,  and  then  asked  of  the  Son  of  God,  44 How  did  you  kill  this?” 

44 1  like  not  your  ring  nor  your  bone  pole,”  said  the  Deathless 
One;  44 1  have  a  good  ring  and  good  wooden  poles.”  Then  he  threw 
away  the  Wind’s  ring  and  pole  and  made  ready  to  play. 

44 Where  did  you  get  these  good  poles  and  this  ring?”  said  the 
Wind.  44 1  like  them.  I  will  play  with  you  and  stake  half  of  these 
people.” 

They  played  one  game,  and  the  ring  leaped  over  the  Wind’s 
pole  and  fell  on  the  pole  of  the  Deathless  One,  and  so  the  Deathless 
One  won  half  the  people.  The  second  game  went  the  same  way, 
and  the  Deathless  One  won  the  other  half  of  the  people. 

1  Games  played  with  poles  and  rings  are  aboriginal  Indian  games  found  among  many  tribes. 

2  The  “  pins  ”  are  possibly  cactus  thorns. 

[  332] 


MOJAVE-APACHE 

Then  said  the  Wind,  “Are  you  a  runner?” 

“  No,”  said  the  Deathless  One,  “  I  am  not  a  runner,  but  I  mean 
to  run  with  you  to-day.” 

“Let  us  race,”  said  the  Wind.  “Let  us  start  from  the  south 
and  race  all  around  the  earth.  The  one  that  first  reaches  again 
the  south  point  shall  win  the  other.  If  I  win  you,  I  shall  kill  you; 
if  you  win  me,  you  may  kill  me.” 

They  started  from  the  south  and  ran  all  around  the  earth,  and 
before  noon  the  Deathless  One  reached  again  the  starting-point. 
There  he  waited  until  the  Wind  came.  The  Wind  stepped  up  close 
to  him  and  said:  “I  am  ready  if  you  are  ready.  You  may  kill  me.” 
The  Deathless  One  took  up  a  stick  and  struck  at  the  Wind's  head, 
but  every  time  he  struck  the  Wind  dodged.  Then  a  little  fly 
helped  the  Deathless  One;  the  fly  flew  into  his  ear  and  said,  “Aim 
at  his  head,  but  strike  the  shadow  of  his  head  upon  the  ground.” 

So  the  Deathless  One  struck  downward  at  the  shadow  and  killed 
the  Wind.  Then  he  said:  “I  never  saw  a  man  such  as  the  Wind. 
Now  I  will  make  him  no  man,  but  wind  only.”  So  he  cut  the  body 
into  four  quarters,  and  threw  them  east,  west,  north,  and  south. 
That  is  why  the  wind  still  blows  from  four  directions,  but  no  longer 
lives  in  the  form  of  a  man.1  Then  the  Deathless  One  released  his 
wife  and  brought  her  home. 

1  The  wife  of  the  Deathless  One  probably  represents  the  fruitfulness  of  the  earth  which  was 
taken  away  by  the  hot  wind,  and  upon  whose  release  depended  the  life  of  the  people. 


THE  YUMAS 


HE  word  44 Yuma.**  is  said  to  mean  “Sons  of  the  River,” 
and  this  name  is  given  to  a  southwestern  linguistic  family 
comprising  several  tribes,  among  them  the  Cocopas,  Ha- 
vasupais,  Maricopas,  Cochimis,  Walapais,  Seris,  Mojavest 
and  the  Yumas  proper.  This  last-named  tribe  is  on  a  reservation  on 
the  Colorado  River,  in  the  southernmost  part  of  California,  near  the 
border-line  of  California  and  Arizona. 

The  Yumas  are  a  quiet  peaceable  people,  yet  they  are  strong  and 
brave,  and,  like  the  Apaches,  they  fought  the  whites  and  Mexicans 
who  traversed  their  territory  in  the  rush  of  emigration  after  the  dis¬ 
covery  of  gold  in  California. 

In  spite  of  the  proximity  of  whites  and  Mexicans,  many  of  the 
native  Yuma  customs  endure,  and  the  Indians  still  practise  their 
ancient  mode  of  agriculture. 

In  spring  when  the  melted  snows  pour  down  from  the  mountains 
the  Colorado  River  overflows  its  banks,  like  the  Nile,  and  in  the  soil 
thus  fertilized,  these  “River  Indians”  plant  their  crops  of  com, 
wheat,  squash  and  melons. 

Among  the  wisest  and  most  thoughtful  of  the  Yumas,  in  recent 
years,  was  C/ziparopai,  an  aged  woman,  whose  knowledge  of  Spanish 
and  English  had  made  her  a  leader  among  her  people.  In  the  year 
1905  the  Yumas  received  news  that  their  land  was  to  be  irrigated, 
as  part  of  a  great  irrigation  scheme,  one-fifth  of  the  reservation  to  be 
left  to  them  and  the  rest  sold  for  white  settlement.  Alarmed  at 

NOTE  FOR  PRONUNCIATION  OF  YUMA  TEXT 

Unless  otherwise  indicated,  vowels  have  the  Continental  sound,  and  consonants 
the  English. 

Ch,  in  italic,  is  a  guttural,  like  ch  in  German. 

[339] 


THE  INDIANS'  BOOK 


this,  they  met  in  council  with  a  government  official  and  C/ziparopai 
was  chosen  as  their  interpreter.  The  Indians  dreaded  the  change 
to  come  upon  them  through  the  proposed  transaction,  fearing  that 
closer  contact  with  the  whites  would  mean  their  doom.1  “Why  not 
knock  us  on  the  head  and  end  it  at  once,"  they  cried;  “it  would  be 
kinder  than  the  slow  agony." 

C/ziparopai  was  old  and  bent,  and  said  that  it  was  only  service 
to  her  people  that  kept  life  within  her  frail  form.  “  I  want  to  live 
to  help  them  through  the  trouble  that  will  come  when  white  settlers 
are  among  us,"  she  said.  But  C/ziparopai  has  been  spared  the  sight 
of  the  change  to  come  upon  her  people.  She  has  died  consecrated 
to  the  good  of  her  tribe. 


AROWP 


Song  of  the  Mocking-Bird 


HIS  Song  of  the  Mocking-Bird  was  sung  by  C/ziparopai. 
It  is  a  song  of  happiness.  The  Yuma  Indians  live  be¬ 
neath  rainless  desert  skies  and  love  the  days  when  thin 
little  clouds  veil  the  blue.  The  mocking-bird  is  a  voice 
of  melody  in  the  silent  desert.  Of  this  song  C/ziparopai  said:  “I 
am  going  my  way  when  I  hear  the  mocking-bird  singing.  It  sings 
only  when  it  is  happy,  so  I  stop  to  listen.  It  sings  that  the  world 
is  fair,  the  clouds  are  in  the  sky,  and  it  is  glad  at  heart.  Then  I, 
too,  am  glad  at  heart  and  go  on  my  uphill  road,  the  road  of  good¬ 
ness  and  happiness." 

The  meaning  is  only  implied,  not  fully  expressed,  by  the  words 
of  the  song,  but  the  Indian  understands  all  that  lies  behind  the  few 
syllables. 

1  The  Yuma  reservation  still  intact  as  Indian  land  lies  on  the  opposite  side  of  the  river  from 
the  town  of  Yuma  and  the  white  settlements.  The  irrigation  scheme  has  not  yet  been  carried 
through — 1 906. 


YUMA 

AROWP 

SONG  OF  THE  MOCKING-BIRD 

'Mai  ariwa — 

'riwa — 

'Mai  ariwa-— 

'riwa — 

**  Thin  little  clouds  are  spread 

Across  the  blue  of  the  sky. 

Thin  little  clouds  are  spread — 

Oh,  happy  am  I  as  I  sing, 

I  sing  of  the  clouds  in  the  sky/' 

Shakwa  tza  mi  na  hi 
Shakwa  tza  mi  na 

Thus  tells  the  bird, 

'Tis  the  mocking-bird  who  sings. 
And  I  stop  to  hear. 

For  he  is  glad  at  heart 

And  I  will  list  to  his  message. 

Hunya  kwa  pai  va 

Hunya  kwa  hul  pa 

Then  up  the  hill. 

Up  the  hill  I  go  my  straight  road. 
The  road  of  good — 

Up  the  hill  I  go  my  straight  road. 
The  happy  road  and  good. 

NAVAJO  TITLE-PAGE 


The  design  is  a  copy  of  a  figure  from  a  Navajo  ceremonial  sand- 
picture,  representing  in  conventionalized  form  a  Navajo  deity 
standing  upon  the  lightning  arrows.  The  drawing  is  by  a 
Navajo  Indian. 

The  lettering  by  Hinook  Mahiwi  Kilinaka  (Angel  De  Cora), 
suggests  the  metal- work  for  which  the  Navajos  are  famed?  the 
characters  at  the  foot  of  the  page  hold  the  corn-symbol,  which 
is  seen  at  the  four  corners  of  the  square  below  the  Navajo  deity. 


EOAE-HJTIT  OIAVAW 

-bixae  o-  "Hi:'  i  noi  sit  f  ic  yqoa  &  si  .rrgiasb  sriT 

bsb  ob  vxW  £  nrtoi  bscJlsn  ■  tnsvnoo  ni  gminaastqsi  ,stuio iq 
£  yd  si  gaiwstfc  srfT  .aworj.B  gnmirigil  s;lt  noq&  saibnsta 

.nfiibnl  ot£V£pd 

,(.<rtqD  sC  lagnA)  fidfinilb/i  iwidfeM  ;io«wxiH  yd  gniitsJisl  sriT 
$.'*  tbsmti  si£  ao't£V£W  silt  rfoidv/  rot  ahow-bstem  adt  stssggu-a 
.‘omw  ,Icdmy.: -a-sor,'  srii  b'iori  sgsq  s.rli  la  tool  orit  sisiDstido 
•Y’isb  oi;£V£VT  sdt  wolsci  s-j^upe  srft  io  aismoo  viol  sdi  t£  nsss  si 


THE  NAVAJOS 


HE  Navajos,  often  and  truly  called  the  Bedouins  of  Amer¬ 
ica,  are  a  large  nomad  tribe  whose  home  is  in  the  deserts 
and  table -lands  of  Arizona  and  New  Mexico.  Their 
own  name  for  themselves  is  “  Dine,  or  the  People.”  They 
are  of  Athapascan  stock,  though  in  their  veins  flows  the  blood 
of  other  peoples  with  whom  they  have  mixed — Pueblo,  Zuni,  and 
Mexican.  The  lands  of  the  Navajos  are  arid,  and  therefore  useless 
to  the  white  man.  Accordingly,  this  tribe  has  remained,  until 
quite  recently,  comparatively  remote  from  white  intercourse.  The 
conquest  of  New  Mexico  by  Coronado,  in  the  year  1540,  brought 
domestic  animals  to  the  Indians,  and  since  that  time  the  Navajos 
have  been  a  shepherd  folk  whose  main  sustenance  is  from  their 
flocks  of  sheep  and  goats. 

NOTE  FOR  PRONUNCIATION  OF  NAVAJO  TEXT 

While  in  many  Indian  languages  there  are  sounds  not  exactly  the  same  as  the 
corresponding  ones  of  European  tongues,  in  the  Navajo  occur  sounds  that  have  no 
counterpart  at  all  in  European  languages.  Such  sounds,  therefore,  can  be  expressed 
by  the  Roman  alphabet  approximately  only. 

Unless  otherwise  indicated,  vowels  have  the  Continental  sound,  and  consonants 
the  English. 

n  has  the  nasal  sound,  as  in  French. 

ch ,  in  italic,  is  a  guttural,  like  ch  in  German. 

r  has  a  guttural  roll. 

Navajo  songs  frequently  begin  and  end  with  the  vocables  44  Ko-la-ra-ne,” 
and  the  song-words  are  often  prolonged  with  vocables  interspersed  among  the 
syllables  or  added  to  the  end  of  the  word. 

The  Navajo  legends  and  stories  connected  with  the  songs  here  given  were 
heard  by  the  recorder  with  slight  variations  in  different  parts  of  the  Navajo 
country.  To  insure  authenticity,  and  also  to  avoid  discrepancy,  the  recorder  has 
consulted  the  works  of  the  late  Washington  Matthews  and  those  of  the  late  James 
Stevenson,  to  which  authorities  indebtedness  is  acknowledged. 

[347] 


THE  INDIANS’  BOOK 


The  dwelling  of  the  Navajo  is  a  “hogan,”  or  rttde  hut  built  of 
poles  and  earth  when  on  the  level  desert,  or  of  stone  and  timber  when 
on  the  fir-grown  mountain-side.  With  ceremony  and  song  the  hogan 
is  consecrated  to  the  use  of  the  owner;  yet  it  is  rarely  more  than 
a  temporary  dwelling,  to  be  abandoned  when  the  flock  must  seek 
new  pastures. 

It  is  thought  that  the  Navajos  acquired  the  art  of  weaving 
from  the  Pueblo  peoples,  their  close  neighbors.  To-day  the  Navajos 
are  famed  for  the  blankets  they  make  from  the  wool  of  their  sheep. 
From  the  Mexicans  the  Navajos  learned  smithing;  and  in  their  crude 
forges  they  make  necklaces,  buttons,  clasps,  bridle-ornaments,  rings, 
bracelets,  and  every  sort  of  silver  decoration,  using  metal  obtained 
from  melted  coin.  The  originality  of  design  and  the  barbaric  charm 
of  the  workmanship  make  the  handiwork  of  the  Navajos  unique  of 
its  kind.  Of  such  art  industries  the  Southwest  may  well  be  proud. 

Like  all  Indians,  the  Navajos  are  intensely  religious,  and  their 
ceremonies  are  long,  elaborate,  poetic,  and  ritualistic,  abounding 
in  long  chants,  which  contain  many  verses  with  preludes  and  re¬ 
frains.  Indeed,  the  ceremonies  themselves  are  called  “hatal,” 
meaning  chant,  a  name  which  well  describes  the  importance  of  music 
in  the  rite. 

The  mythology  of  this  tribe  contains  a  wealth  of  beautiful  imagery 
striking  in  its  originality,  and  strongly  reflecting  the  nature-world 
of  the  Southwest. 

The  Navajo  is  industrious,  independent,  and  fearless.  He  has 
the  strength  of  the  warrior  and  the  simplicity  of  the  shepherd.  In 
his  glance  is  the  lightning’s  flash  and  the  wide  freedom  of  the  desert, 
yet  the  absent,  dreamy  look  of  the  herdsman  accustomed  to  gazing 
off  upon  a  vast  horizon  gives  to  the  face  an  almost  graven  calm. 
Pastoral  yet  majestic,  the  Navajo  is  the  true  son  of  the  silence,  the 
awe,  the  grandeur  of  the  desert. 


A  Shepherd  Leaving  His  Hogan  at  Dawn 


NAVAJO 


HOZHONJI  SONGS 

HE  Hozhonji  songs  are  holy  songs,  given  to  ns  by  the 
gods,”  say  the  Navajos.  “They  are  songs  of  peace  and 
of  blessing.  They  protect  the  people  against  all  evil. 
A  man  will  often  sing  a  Hozhonji  song  before  starting 
on  a  journey.  Ceremonies  are  begun  sometimes  with  a  Hozhonji 
song,  and  always  end  with  one,  for  the  song  is  a  final  blessing.  It 
is  the  parting  song  before  the  people  scatter  at  daybreak  after  a 
rite  which  has  lasted  all  night.  The  Navajo  must  never  make  a 
mistake  or  miss  a  word  in  singing  any  sacred  chant;  if  he  does,  the 
singing  must  stop,  for  its  good  has  been  blighted.  Even  a  whole 
ceremony  will  be  given  up  if  a  single  mistake  occur  in  any  part  of 
the  ritual.  That  is  why  we  often  close  our  eyes  when  we  sing, 
that  we  may  think  of  the  song  more  clearly.  The  Navajo  sings  a 
Hozhonji  song  to  purify  or  bless  himself  or  others;  or  he  will  sing 
in  order  that  his  flocks  and  herds  may  thrive.  If  he  make  no  mis¬ 
take,  blessings  will  surely  follow  and  evils  will  be  warded  off.” 

So  say  the  Navajos,  and  an  educated  member  of  the  tribe  adds: 

“Our  Hozhonji  songs  are  like  the  Psalms  of  David.  We  sing 
them  as  a  white  man  says  his  prayers.  Our  hero,  Nayenezrani,  is 
like  the  Bible  hero  David.  By  our  Holy  Ones  were  the  songs  made, 
even  as  the  Bible  was  made  by  holy  people.” 

To  the  white  man  there  is  scarcely  a  more  impressive  sight  than 
a  group  of  Navajos  chanting  these  ancient  traditional  songs  which 
have  been  learned  and  handed  down  with  the  greatest  accuracy  and 
care.  The  quiet,  monotonous  quality  of  the  chant  seems  heightened 
by  the  concentration  of  the  singers,  who,  with  closed  eyes  or  fixed 
gaze,  bend  every  thought  upon  their  singing  that  they  may  not  err 
in  word  or  sequence  of  the  holy  song. 

At  a  healing-ceremony  in  some  hogan  where  there  is  sickness,  the 
steady  rhythm  of  the  medicine-songs  pulses  all  night  long,  groups 
of  singers  on  opposite  sides  of  the  fire  vying  with  one  another  in 
endurance.  Does  one  group  flag,  another  starts  in  freshly,  and  so, 
like  the  central  pile  of  burning  logs,  the  song  flares  unextinguished 

till  the  paling  of  the  stars.  Then  comes  a  pause — the  song  changes; 

[349] 


THE  INDIANS’  BOOK 


all  the  voices  join  in  chanting,  and  then  in  measured  cadence  rises  a 
Hozhonji  song  to  end  the  ceremony  of  the  night  and  greet  the  com¬ 
ing  day.  The  singing  of  a  Hozhonji  song  is  at  all  times  an  act  of 
consecration. 


DSIOTL  BIYIN 

Mountain-Song  (Hozhonji  Song) 

HE  singer  of  this  Mountain  -  Song  was  an  old  man  of 
character  and  great  intelligence,  who  was  looked  upon  as 
leader  by  a  certain  band  of  Navajos  in  New  Mexico. 

Said  he: 

well  that  our  songs  should  be  written,  and  it  is  now 
time,  indeed,  that  this  should  be  done.  The  young  people  grow 
careless  of  the  songs,  and  mistakes  will  come  into  them.  Unless 
the  songs  are  written  they  will  in  time  be  forgotten.  I  know  this; 

I  have  long  known  it.  I  have  tried  myself  to  find  a  way  to  record 
the  songs,  but  I  cannot  write.  Now  you  will  write  what  I  sing. 

“ I  will  sing  for  you  the  oldest  song  I  know.  It  was  taught  to 
me  by  my  grandfather.  He  learned  it  from  his  father,  for  it  has 
been  taught  by  fathers  to  their  sons  for  no  one  knows  how  many 
years.  It  is  true,  there  were  older  songs  than  this  sung  by  an 
ancient  people  in  days  before  the  coming  of  the  Navajos.  But 
those  songs  are  all  lost  because  the  people  themselves  have  per¬ 
ished;  they  grew  wicked,  therefore  sand-storms  and  cyclones  were 
sent  to  destroy  them  and  their  villages.  There  is  nothing  left  of 
them  but  the  ruins  of  their  dwellings.* 1 

“The  song  that  I  will  sing  is  a  holy  song.  In  olden  times  it  was 
the  first  song  that  a  boy  learned.  It  was  taught  to  him  by  his 
father,  for  every  boy  should  know  this  song  before  starting  into 
life.” 

The  following  narrative  explaining  the  song  was  told  in  part 
by  the  aged  singer,  in  part  by  other  Navajos:2 


TJ 

“It  ~fe 


1  The  ruins  and  cliff-dwellings  of  New  Mexico  and  Arizona. 

:  There  are  other  versions  of  the  Navajo  story  of  the  Emergence. 

[350] 


NAVAJO 


There  are  four  worlds,  one  above  another:  the  first  world;  the 
second  world,  which  is  the  underworld;  the  third,  which  is  the 
middle  world;  and  the  fourth  world,  our  own  world*  In  the  under¬ 
world  there  arose  a  great  flood  and  the  people  were  driven  up  by 
the  waters*  They  planted  a  hollow  reed  and  came  up  through  it 
to  this  world. 

First-Man  and  First-Woman  had  brought  with  them  earth  from 
the  mountains  of  the  world  below.  With  this  they  made  the  sacred 
mountains  of  the  Navajo  land. 

To  the  East  they  placed  the  sacred  mountain  Sisnajinni.1  They 
adorned  it  with  white  shell  and  fastened  it  to  the  earth  with  a 
bolt  of  lightning.  They  covered  it  with  a  sheet  of  daylight,  and 
put  the  Dawn  Youth  and  the  Dawn  Maiden  to  dwell  in  it. 

To  the  South  they  placed  Tsodsic/zl.  They  adorned  it  with 
turquoise  and  fastened  it  to  the  earth  with  a  knife  of  stone.  They 
covered  it  with  blue  sky,  and  put  the  Turquoise  Youth  and  the 
Turquoise  Maiden  to  dwell  in  it. 

To  the  West  they  placed  Doko-oslid.  They  adorned  it  with 
haliotis-shell  and  fastened  it  to  the  earth  with  a  sunbeam.  They 
covered  it  with  a  yellow  cloud,  and  put  the  Twilight  Youth  and  the 
Haliotis  Maiden  to  dwell  in  it. 

To  the  North  they  placed  Depenitsa.  They  adorned  it  with 
cannel  coal2  and  fastened  it  to  the  earth  with  a  rainbow.  They 
covered  it  with  a  covering  of  darkness,  and  put  the  Youth  of  Cannel 
Coal  and  the  Darkness  Maiden  to  dwell  in  it. 

In  the  centre  they  placed  Tsic/ilnaodic/ili  and  adorned  it  with 
striped  agate.  Here  were  created  the  first  Navajos.  The  Navajos 
will  never  live  elsewhere  than  around  this  mountain. 

So  the  mountains  were  placed  and  decorated;  then,  before  they 
were  named,  holy  songs  were  sung  which  tell  of  a  journey  up  the 
mountain.  The  song  here  given  is  the  first  of  these. 

1  The  recorder  acknowledges  indebtedness  to  the  works  of  Dr.  Washington  Matthews  for 
some  of  the  details  contained  in  the  description  of  the  decoration  of  the  mountains. 

2  This  beautiful,  lustrous  coal  is  highly  prized  by  the  Navajos,  who  make  from  it  black  beads. 
Turquoise  (abundantly  found  in  the  Southwest),  different  kinds  of  shell,  and  this  variety  of  coal 
are  gems  to  the  Navajos,  who  make  from  them  their  necklaces  and  ornaments.  Such  gems  are  also 
used  as  sacred  offerings  to  the  gods.  The  decorations  of  the  mountains  accord  with  the  Navajo 
color-symbolism — white  for  the  east;  blue  for  the  south;  yellow  for  the  west;  black  for  the 
north.  “  The  north  skies  are  dark  and  the  south  skies  are  blue,”  say  the  Navajos. 

r  35i  ] 


THE  INDIANS’  BOOK 


When  the  Navajo  sings  “Chief  of  all  mountains/’  he  means 
something  higher  and  holier  than  chief.  He  sings  to  the  mountain 
as  to  a  god,  for  the  mountain  is  pure  and  holy;  there  is  freedom 
above  it,  freedom  below  it,  freedom  all  around  it.  Happiness  and 
peace  are  given  by  the  mountain,  and  the  mountain  blesses  man 
when  in  the  song  it  calls  him  “son.” 


DSIC7/L  BIYIN 


MOUNTAIN-SONG 


Piki  yo-ye! 
DsicAl-nantai', 

Piki  yo-ye, 
Sa-a  narai*, 

Piki  yo-ye. 
Bike  hozhoni, 

Piki  yo-ye, 
Tsoya  shic/2  ni-la  ! 
Piki  yo-ye  ! 


Thither  go  I  ! 

Chief  of  all  mountains. 
Thither  go  I, 

Living  forever, 

Thither  go  I, 

Blessings  bestowing. 

Thither  go  I, 

Calling  me  “  Son,  my  son.” 
Thither  go  I  ! 


DSIC7YL  BIYIN 

Mountain-Songs 

Sung  and  told  by  Navajos  near  Fort  Defiance,  Arizona 

N  a  certain  ceremony  for  healing,  holy  mountain-songs 
are  sung  over  the  sick  man.  These  songs  describe  a 
journey  to  a  holy  place  beyond  the  sacred  mountains 
where  are  everlasting  life  and  blessedness.  The  Divine 
live  in  and  beyond  the  mountains  made  the  songs,  and 
so  they  tell  of  the  journey  as  of  a  home-coming. 

When  these  songs  are  sung  over  a  man,  the  spirit  of  the  man  makes 
the  journey  that  the  song  describes.  Upon  the  rainbow  he  moves 
from  mountain  to  mountain,  for  it  is  thus  that  the  gods  travel, 
standing  upon  the  rainbow.  The  rainbow  is  swift  as  lightning. 
Any  man  may  know  this  to  be  true,  for  he  may  see  clearly  where 
the  rainbow  touches  the  ground,  and  walk  to  the  spot,  but  before 

he  is  there  the  rainbow  has  moved  quickly  away  and  is  far  beyond. 

[352] 


iLJJ 

Ones  who 


NAVAJO 


He  never  can  overtake  it;  it  moves  more  swiftly  than  any  one  can 
see.  Sometimes  these  songs  are  sung  for  runners  before  a  great  race 
in  order  to  bless  them  and  give  them  the  speed  of  the  rainbow. 

There  are  many  mountain-songs,  and  of  the  songs  here  given 
there  are  six,  all  to  the  same  music.  Each  song  is  sung  four  times, 
once  for  each  mountain,  and  the  singers  must  make  no  mistake 
in  their  sequence  nor  miss  a  word.  We  always  sing  of  the  moun¬ 
tains  in  this  order — East,  South,  West,  and  North,  for  it  is  thus 
that  the  sun  moves. 

The  mountain  protects  man  like  a  god.  When  a  man  sings  of 
the  mountain,  then,  through  the  singing,  his  spirit  goes  to  the  holy 
place  beyond  the  mountain,  and  he  himself  becomes  like  the  moun¬ 
tain,  pure  and  holy,  living  eternally,  forever  blessed. 

DSICtfL  BIYIN 

Be-ye-la-naseya, 

Be-ye-la-naseyo, 

Be-ye-la-naseya, 

Ho-digin-ladji-ye-ye, 

Be-ye-la-naseya, 

Ka'  Sisnajinni 
Bine  dji-ye-ye, 

Be-ye-la-naseya, 

Dsic/il-nanita” 

Bine  dji-ye-ye, 

Be-ye-la-naseya, 

Sa-a  narai* 

Bine  dji-ye-ye, 

Be-ye-la-naseya, 

Bike  hozhoni 
Bine  dji-ye-ye, 

Be-ye-la-naseya, 


The  above  is  repeated  three  times,  substituting  for  the  mountain  name,  Sisnajinni,  the  names, 
in  order,  Tsodsic/il,  Doko-oslid,  and  Depenitsa. 

The  five  songs  that  follow  are  the  same  as  the  first,  excepting  that  the  refrain,  Be-ye-la-naseya, 
is  replaced  everywhere  by  a  different  refrain.  These  refrains  are  as  follows: 

Second  song:  Be-ye-la-nadesta 
Third  song:  Be-ye-nikiniya 
r  353 1 


THE  INDIANS’  BOOK 


Fourth  song:  Be-ye-la-na‘ishtatl 
Fifth  song:  Be-ye-la-nanistsa 
Sixth  song:  Be-ye-la-nanishta 

Like  the  first  song,  each  of  these  has  four  verses,  one  for  each  mountain.  There  are  thus 
twenty-four  stanzas.  The  first  song  only  is  written  in  the  Navajo  language  under  the  music, 
since  the  refrains  of  the  other  five  songs  exactly  correspond  in  the  number  of  syllables.  The 
names  of  the  four  mountains  mentioned  in  four  successive  singings  of  each  song  are  written 
in  their  proper  place  below  the  music,  but  in  the  English  version  the  four  mountain  names 
must  be  used  without  the  Indian  prolongation  by  extra  syllables.  See  music  page  377. 


MOUNTAIN-SONGS 

Each  song  sung  four  times,  with  substitution,  in  the  sixth  line,  of  the  name  cf  another 
mountain 

I 


Swift  and  far  I  journey. 

Swift  upon  the  rainbow. 

Swift  and  far  I  journey, 

Lo,  yonder,  the  Holy  Place  ! 

Yea,  swift  and  far  I  journey. 
To  Sisnajinni,  and  beyond  it. 

Yea,  swift  and  far  I  journey; 
The  Chief  of  Mountains,  and  beyond  it, 

Yea,  swift  and  far  I  journey; 
To  Life  Unending,  and  beyond  it, 

.  Yea,  swift  and  far  I  journey; 

To  Joy  Unchanging,  and  beyond  it. 

Yea,  swift  and  far  I  journey. 


II 

Homeward  now  shall  I  journey, 

Homeward  upon  the  rainbow; 

Homeward  now  shall  I  journey, 

Lo,  yonder  the  Holy  Place  ! 

Yea,  homeward  now  shall  I  journey. 
To  Sisnajinni,  and  beyond  it. 

Yea,  homeward  now  shall  I  journey; 
The  Chief  of  Mountains,  and  beyond  it. 

Yea,  homeward  now  shall  I  journey; 
[  354] 


NAVAJO 


To  Life  Unending,  and  beyond  it. 

Yea,  homeward  now  shall  I  journey; 

To  Joy  Unchanging,  and  beyond  it. 

Yea,  homeward  now  shall  I  journey. 

III 

Homeward  behold  me  starting, 

Homeward  upon  the  rainbow; 

Homeward  behold  me  starting. 

Lo,  yonder,  the  Holy  Place  ! 

Yea,  homeward  behold  me  starting. 

To  Sisnajinni,  and  beyond  it. 

Yea,  homeward  behold  me  starting; 

The  Chief  of  Mountains,  and  beyond  it. 

Yea,  homeward  behold  me  starting; 

To  Life  Unending,  and  beyond  it, 

Yea,  homeward  behold  me  starting; 

To  Joy  Unchanging,  and  beyond  it. 

Yea,  homeward  behold  me  starting. 

IV 

Homeward  behold  me  faring. 

Homeward  upon  the  rainbow; 

Homeward  behold  me  faring. 

Lo,  yonder,  the  Holy  Place  ! 

Yea,  homeward  behold  me  faring. 

To  Sisnajinni,  and  beyond  it. 

Yea,  homeward  behold  me  faring; 

The  Chief  of  Mountains,  and  beyond  it. 

Yea,  homeward  behold  me  faring; 

To  Life  Unending,  and  beyond  it. 

Yea,  homeward  behold  me  faring; 

To  Joy  Unchanging,  and  beyond  it, 

Yea,  homeward  behold  me  faring. 

V 

Now  arrived  home  behold  me. 

Now  arrived  on  the  rainbow; 

Now  arrived  home  behold  me, 

Lo,  here,  the  Holy  Place  ! 

Yea,  now  arrived  home  behold  me. 
r  355 1 


THE  INDIANS'  BOOK 


At  Sisnajinni,  and  beyond  it. 

Yea,  now  arrived  home  behold  me; 
The  Chief  of  Mountains,  and  beyond  it. 

Yea,  now  arrived  home  behold  me; 
In  Life  Unending,  and  beyond  it. 

Yea,  now  arrived  home  behold  me;* 
In  Joy  Unchanging,  and  beyond  it. 

Yea,  now  arrived  home  behold  me. 


VI 

Seated  at  home  behold  me. 

Seated  amid  the  rainbow; 

Seated  at  home  behold  me, 

Lo,  here,  the  Holy  Place  ! 

Yea,  seated  at  home  behold  me. 
At  Sisnajinni,  and  beyond  it, 

Yea,  seated  at  home  behold  me; 
The  Chief  of  Mountains,  and  beyond  it, 

Yea,  seated  at  home  behold  me; 
In  Life  Unending,  and  beyond  it, 

Yea,  seated  at  home  behold  me; 
In  Joy  Unchanging,  and  beyond  it. 

Yea,  seated  at  home  behold  me. 


HOGAN  BIYIN 

Song  of  the  Hogans  (Hozhonji  Song) 

Sung  and  told  by  Navajos  of  Arizona 

HIS  is  one  of  the  oldest  and  most  revered  of  the  Hozhonji 
songs.  It  tells  of  two  blessed  hogans,  the  first  that  ever 
were  made  —  in  the  east,  the  hogan  of  Hastyeyalti, 
god  of  sunrise;  in  the  west,  the  hogan  of  Hastyehogan, 
god  of  sunset.  Long  ago,  the  gods  had  no  dwellings  but  met  in 
the  open,  they  say.  Then  they  decided  that  they  must  have 
houses  wherein  they  might  hold  their  sacred  rites  and  sing  their 
holy  songs.  So  the  blessed  hogans  were  made,  and  this  song  was 

[  356] 


NAVAJO 


sang  to  consecrate  them.  Even  so  with  the  same  song  the  Navajo 
now  consecrates  a  new  dwelling.  He  may  also  sing  it  at  any  time 
as  a  blessing  upon  himself  or  his  people : 


HOGAN  BIYIN 


SONG  OF  THE  HOGANS 
(Hozhonji  Song) 


Tsanti  hogani-la, 

Hozhon  hogan-e. 


Lo,  yonder  the  hogan. 

The  hogan  blessed  ! 


Hayiashiye  beashdje 
Hogani-la, 
Hozhon  hogan-e. 


There  beneath  the  sunrise 
Standeth  the  hogan. 
The  hogan  blessed. 


Ka'  Hastyeyalti-ye  bi 
Hogani-la, 

Hozhon  hogan-e; 

Hayolkatli-ye  be  bi 
Hogani-la, 

Hozhon  hogan-e; 

Tan-alc/jka'i-ye  be  bi 
Hogani-la, 

Hozhon  hogan-e; 

Yotti-iltrassa'i-ye  be  bi 
Hogani-la, 

Hozhon  hogan-e; 

Tro-altlanastshini-ye  be  bi 
Hogani-la, 

Hozhon  hogan-e; 

Tradetin-iye  be  bi 
Hogani-la, 

Hozhon  hogan-e; 

Ka'  sa-a  narai*, 

Ka'  bike  hozhoni  bi 
Hogani-la, 

Hozhon  hogan-e. 


Of  Hastyeyalti-ye 
The  hogan. 

The  hogan  blessed. 

Built  of  dawn's  first  light 
Standeth  his  hogan. 

The  hogan  blessed. 

Built  of  fair  white  corn 

Standeth  his  hogan. 

The  hogan  blessed. 

Built  of  broidered  robes  and  hides 
Standeth  his  hogan. 

The  hogan  blessed. 

Built  of  mixed  All- Waters  pure 
Standeth  his  hogan, 

The  hogan  blessed. 

Built  of  holy  pollen 

Standeth  his  hogan. 

The  hogan  blessed. 

Evermore  enduring. 

Happy  evermore. 

His  hogan, 

The  hogan  blessed. 

Lo,  yonder  the  hogan. 

The  hogan  blessed  ! 


Tsanti  hogani-la, 

Hozhon  hogan-e. 


[357] 


THE  INDIANS'  BOOK 


I-iash-iye  beashdje 
Hogani-la, 
Hozhon  hogan-e; 


There  beneath  the  sunset 
Standeth  the  hogan, 
The  hogan  blessed. 


Ka'  Hastyehogan-i  bi 
Hogani-la, 
Hozhon  hogan-e; 

NahotsoY-ye  be  bi 
Hogani-la, 
Hozhon  hogan-e; 

Tan-alc/ztsoi-ye  be  bi 
Hogani-la, 
Hozhon  hogan-e; 


Of  Hastyehogan-i 
The  hogan, 

The  hogan  blessed. 

Built  of  afterglow 

Standeth  his  hogan. 
The  hogan  blessed. 

Built  of  yellow  corn 

Standeth  his  hogan. 
The  hogan  blessed. 


Nekliz  iltrassaY-ye  be  bi 
Hogani-la, 
Hozhon  hogan-e; 


Built  of  gems  and  shining  shells 
Standeth  his  hogan. 

The  hogan  blessed. 


Tro-piyash-iye  be  bi 
Hogani-la, 
Hozhon  hogan-e; 


Built  of  Little- Waters 

Standeth  his  hogan. 
The  hogan  blessed. 


Tradetin-iye  be  bi 
Hogani-la, 
Hozhon  hogan-e; 


Built  of  holy  pollen 

Standeth  his  hogan. 
The  hogan  blessed. 


Ka’  sa-a  narai, 

Ka  bike  hozhoni  bi 
Hogani-la, 
Hozhon  hogan-e. 

Tsanti  hogani-la, 

Hozhon  hogan-e. 


Evermore  enduring. 

Happy  evermore. 

His  hogan, 

The  hogan  blessed. 

Lo,  yonder  the  hogan. 

The  hogan  blessed ! 


NAVAJO 


STORY  OF  THE  TWO  BROTHERS 

Told  by  Navajos  of  New  Mexico  and  Arizona 

F  all  the  Divine  Ones  none  is  more  revered  than  Estsan- 
Natlehi  (She-Who-Changeth)  .*  Highly  honored,  too,  is  her 
younger  sister  Yolkai-Estsan  (White-Shell-Woman).  Of 
the  turquoise  of  the  land  was  made  She-Who-Changeth; 
of  the  white  shell  of  the  ocean  was  made  White-Shell- Woman.  Each 
sister  bore  a  son;  the  child  of  She-Who-Changeth  was  the  god  Na- 
yenezrani;  the  child  of  White-Shell-Woman  was  the  god  Tobajischini. 

At  that  time  there  were  in  the  world  many  Anayef  they  say, 
gods  unfriendly  to  man,  evil  beings,  giants,  monsters,  who  destroyed 
the  people.1 2  When  the  two  young  gods  were  grown,  they  wanted  to 
slay  the  Anaye  that  the  people  might  be  saved. 

Now  the  brothers3  often  asked  of  the  mothers,  “Who  is  our 
father?”  The  mothers  always  answered,  “You  have  none.”  At 
last,  one  day,  they  set  out  to  find  him  for  themselves;  they  took  a 
holy  trail  and  journeyed  on  the  sunbeams.  It  was  Niltshi,  the 
Wind,  who  guided  them,  whispering  his  counsel  in  their  ears. 

Their  father  was  Johano-ai,  the  Sun.  His  beautiful  house  was  in 
the  east;  it  was  made  of  turquoise,  and  stood  on  the  shore  of  great 
waters.  There  he  dwelled  with  his  wife,  his  daughters,  and  his  sons. 
The  Black  Thunder  and  The  Blue  Thunder.  Until  the  coming 
of  the  strange  brothers,  the  wife  of  the  Sun  had  not  known  that 
her  husband  had  visited  a  goddess  on  the  earth.  Nor  would 
Johano-ai  believe  that  the  two  gods  were  his  sons  until  he  had 
proved  it  by  making  them  undergo  all  kinds  of  trials.  But  the 
youths  came  through  each  test  unharmed,  and  then  the  Sun  re¬ 
joiced  that  these  were  indeed  his  children,  and  promised  to  give 
them  what  they  asked.  The  brothers  told  their  father  that  they 
wanted  weapons  with  which  to  slay  the  Anaye.  So  Johano-ai  gave 

1  According  to  Dr.  Washington  Matthews,  the  goddess  is  thus  named  because  she  passes 
through  endless  lives,  continually  changing  from  old  to  young  again — “  it  is  probable  that  she  is 
an  apotheosis  of  nature  or  of  the  changing  year.” 

2  Many  of  the  Anaye  are  personifications  of  the  dangers  that  lie  in  nature. 

3  The  two  gods  are  called  “  brothers  ”  in  all  versions  of  the  myth.  Another  version  makes 
both  gods  twin-children  of  She-Who-Changeth. 

[359] 


THE  INDIANS’  BOOK 


them  helmets,  shirts,  leggings,  and  moccasins,  all  of  black  flint;  and 
when  this  armor  was  put  on,  the  four  lightnings  flashed  from  the 
different  joints.1  He  gave  them  for  weapons  a  mighty  knife  of 
stone,  and  arrows  of  rainbow,  of  sunbeam,  and  of  lightning.  So  the 
brothers  slew  the  Anaye,  and  after  each  victory  they  returned  to 
their  mothers  rejoicing. 

Then  Johano-ai  came  to  She- V/ ho-Changeth  and  begged  her  to 
make  for  him  a  home  in  the  west,  where  he  might  rest  at  evening 
after  his  long  day's  journey  across  the  skies.  Long  he  pleaded  with 
her,  until  at  last  she  yielded  and  said,  “  I  will  go  and  make  a  home 
for  you,  if  you  will  give  me  what  I  ask.  You  have  a  beautiful  tur¬ 
quoise  house  in  the  east,  they  say.  I  must  have  just  such  a  beautiful 
house  in  the  west,  only  it  must  be  beyond  the  shore  and  floating 
amid  the  waters;  and  around  the  house  must  be  planted  all  kinds  of 
gems,  that  they  may  grow  and  become  many." 

Johano-ai  granted  every  wish,  and  now,  beyond  the  mountains, 
the  sun-god  rests  at  evening  in  the  gem-surrounded  floating  house 
of  Estsan-Natlehi  in  the  west. 


HLIiV  BIYIN 

Song  of  the  Horse 
Sung  and  told  by  Navajos  of  Arizona 

OHANO-AI  starts  each  day  from  his  hogan,  in  the  east, 
and  rides  across  the  skies  to  his  hogan  in  the  west, 
carrying  the  shining  golden  disk,  the  sun.  He  has  five 
horses — a  horse  of  turquoise,  a  horse  of  white  shell,  a 
horse  of  pearl  shell,  a  horse  of  red  shell,  and  a  horse  of  coal.2  When 
the  skies  are  blue  and  the  weather  is  fair,  Johano-ai  is  riding  his 
turquoise  horse  or  his  horse  of  white  shell  or  of  pearl;  but  when  the 
heavens  are  dark  with  storm,  he  has  mounted  the  red  horse,  or  the 
horse  of  coal. 

Beneath  the  hoofs  of  the  horses  are  spread  precious  hides  of 

'  See  “The  Morning  Star  and  The  Evening  Star,”  page  103;  also  foot-note,  page  315. 

7  See  mountain  narrative,  page  351. 


[360] 


NAVAJO 


all  kinds,  and  beautiful  woven  blankets,  richly  decorated,  called 
“naskan.”  In  olden  times  the  Navajos  used  to  wear  such  blankets, 
and  men  say  they  were  first  found  in  the  home  of  the  sun-god.1 

Johano-ai  pastures  his  herds  on  flower-blossoms  and  gives  them 
to  drink  of  the  mingled  waters.  These  are  holy  waters,  waters  of 
all  kinds,  spring-water,  snow-water,  hail-water  and  water  from 
the  four  quarters  of  the  world.  The  Navajos  use  such  waters  in 
their  rites.  When  the  horse  of  the  sun-god  goes,  he  raises,  not  dust, 
but  “pitistchi,”  glittering  grains  of  mineral  such  as  are  used  in  re¬ 
ligious  ceremonies;  and  when  he  rolls,  and  shakes  himself,  it  is  shin¬ 
ing  pitistshi  that  flies  from  him.  When  he  runs,  the  sacred  pollen 
offered  to  the  sun-god  is  all  about  him,  like  dust,  so  that  he  looks 
like  a  mist;  for  the  Navajos  sometimes  say  that  the  mist  on  the 
horizon  is  the  pollen  that  has  been  offered  to  the  gods. 

The  Navajo  sings  of  the  horses  of  Johano-ai  in  order  that  he,  too, 
may  have  beautiful  horses  like  those  of  the  sun -god.  Standing 
among  his  herds  he  scatters  holy  pollen,  and  sings  this  song  for 
the  blessing  and  protection  of  his  animals: 

HLIiV  BIYIN 

Nizho’ko  ani — hiye  ! 

Ka’  Johano-ai  dotlizhi  be  lin-iye 
Nizho’ko  ani — hiye, 

Yotti  bahostieli  tsi  bakai'  yiki 
Nizho’ko  ani — hiye, 

Tshilatra  hozhoni  be  jinic/dtan  laki 
Nizho’ko  ani — hiye, 

Tro-tlanastshini-ye  be  jinic/Htan  laki 
Nizho’ko  ani — hiye, 

Ka'  pitistshi-ye  pi! ch  tashokishko, 

Nizho’ko  ani — hiye, 

Ka’  ba  tradetin-iye  yan-a  toitinyeko, 

Nizho’ko  ani — hiye, 

K’ean  natelzhishko  k’at  tonidineshko, 

Nizho’ko  ani — hiye  ! 

1  This  bit  of  imagery  undoubtedly  depicts  the  clouds.  The  sunlight  on  meadow  and  spring 
is  suggested  in  the  pasturing  of  the  sun-god's  horses. 

[361] 


23 


THE  INDIANS'  BOOK 

SONG  OF  THE  HORSE 


How  joyous  his  neigh  ! 

Lo,  the  Turquoise  Horse  of  Johano-ai, 

How  joyous  his  neigh. 

There  on  precious  hides  outspread  standeth  he; 

How  joyous  his  neigh, 

There  on  tips  of  fair  fresh  flowers  feedeth  he; 

How  joyous  his  neigh. 

There  of  mingled  waters  holy  drinketh  he; 

How  joyous  his  neigh. 

There  he  spurneth  dust  of  glittering  grains; 

How  joyous  his  neigh. 

There  in  mist  of  sacred  pollen  hidden,  all  hidden  he; 
How  joyous  his  neigh, 

There  his  offspring  many  grow  and  thrive  for  evermore; 
How  joyous  his  neigh  ! 


NAYE-E  SIN 

War-Song 

Sung  and  told  by  Navajos  of  Arizona 

HIS  is  an  ancient  Navajo  war-chant.  It  was  sung  by 
the  god  Nayenezrani,  the  Slayer  of  the  Anaye.1  Nay- 
enezrani  made  the  ancient  war-songs  and  gave  them  to 
the  Navajos.  In  olden  times,  when  the  Navajos  were 
going  to  war,  the  warriors  chanted  this  song  and  then  went  out  into 
a  wide  plain  and  put  the  war-feather  in  their  hair.  These  feathers 
were  very  holy  and  were  ornamented  with  turquoise.  No  woman 
or  child  might  ever  look  upon  them,  lest  the  warrior,  in  battle, 
become  like  a  child  or  a  woman. 

The  war-chant  tells  how  Nayenezrani  hurls  his  enemies  into  the 
ground  with  the  lightning,  one  after  another.  The  four  lightnings 
strike  from  him  in  all  directions  and  return,  for  lightning  always 
looks  as  if  it  flashed  out  and  then  went  back.2 

**  Whe-e-yoni-stn  ”  means  the  songs  the  enemy  sings  against  him. 
They  are  the  sorcerous  songs  and  evil  prayers  of  the  foe. 

1  Anaye.  See  “  Story  of  the  Two  Brothers,"  page  359. 

2  See  foot-note,  page  103 

1362] 


NAVAJO 


When  chanting  this  song  in  time  of  war,  the  Navajo  would  re¬ 
place  the  words,  “the  old  peoples  of  the  earth”  with  the  name  of 
the  enemy,  whoever  he  might  be — Moqui,  Zuni,  or  Ute: 

NAYE-E  SIN  WAR-SONG 


Pesh  ashike  ni  shli — yi-na, 

Pesh  ashike  ni  shli — ya-e 

Lo,  the  flint  youth,  he  am  I, 

The  flint  youth. 

Nayenezrani  shi  ni  shli — kola 
Pesh  ashike  ni  shli — 

E-na 

Nayenezrani,  Lo,  behold  me,  he  am  I, 

Lo,  the  flint  youth,  he  am  I, 

The  flint  youth. 

Pesh  tilyilcA-iye  shi  ke — kola, 
Pesh  ashike  ni  shli — 

E-na 

Moccasins  of  black  flint  have  I; 

Lo,  the  flint  youth,  he  am  I, 

The  flint  youth. 

Pesh  tilyilcA-iye  siskle — kola, 

Pesh  ashike  ni  shli — 

E-na 

Leggings  of  black  flint  have  I; 

Lo,  the  flint  youth,  he  am  I, 

The  flint  youth. 

Pesh  tilyilcA-iye  shi  e — kola, 

Pesh  ashike  ni  shli — 

E-na 

Tunic  of  black  flint  have  I; 

Lo,  the  flint  youth,  he  am  I, 

The  flint  youth. 

Pesh  tilyilcA-iye  shi  tsha — kola 
Pesh  ashike  ni  shli — 

E-na 

Bonnet  of  black  flint  have  I; 

Lo,  the  flint  youth,  he  am  I, 

The  flint  youth. 

Nolienni  tshina  shi-ye 

Shi  yiki  holon-e — kola, 

Pesh  ashike  ni  shli — 

E-na 

Clearest,  purest  flint  the  heart 

Living  strong  within  me — heart  of  flint; 
Lo,  the  flint  youth,  he  am  I, 

The  flint  youth. 

Ka’  itsiniklizhi-ye 

Din-ikwo 

Sitzan  nahatilc/z — kola, 

Din-ikwo 

Pesh  ashike  ni  shli — 

E-na 

Now  the  zig-zag  lightnings  four 

From  me  flash. 

Striking  and  returning. 

From  me  flash; 

Lo,  the  flint  youth,  he  am  I, 

The  flint  youth. 

Tsini  nahatil ch  ki  la 

Nihoka  hastoyo-la 

There  wherever  the  lightnings  strike. 

Into  the  ground  they  hurl  the  foe — 

Whe-e-yoni-s'n-iye  Ancient  folk  with  evil  charms. 

1  363  ] 


THE  INDIANS'  BOOK 


Yoya  aiyinilc/l — kola, 

Pesh  ashike  ni  shli 

E-na 

Ka'  sa-a  narai, 

Ka'  binihotsitti  shi  ni  shli — kola, 
Pesh  ashike  ni  shli — 

E-na 

Pesh  ashike  ni  shli— kola 
Pesh  ashike  ni  shli  ya-e. 


One  upon  another,  dashed  to  earth; 
Lo,  the  flint  youth,  he  am  I, 

The  flint  youth. 

Living  evermore. 

Feared  of  all  forevermore, 

Lo,  the  flint  youth,  he  am  I, 

The  flint  youth. 

Lo,  the  flint  youth,  he  am  I, 

The  flint  youth. 


PRAYER  BY  THE  GREAT  WATERS 

A  First  Visit  of  Navajos  to  the  Sea 

N  the  winter  of  1903  a  small  band  of  Navajos  left  their 
native  deserts  to  come,  at  the  invitation  of  some  Cali¬ 
fornians,  to  a  New-Year's  festival  at  Pasadena,  Such 
verdant  country  was  never  before  seen  by  the  Navajos. 
"Here  might  our  flocks  graze  forever,"  they  cried,  as  they  looked 
with  wonder  on  the  green  slopes  and  orange-laden  trees  of  Southern 
California.  The  Indians  were  taken  to  the  coast,  to  see  for  the 
first  time  the  "Great  Waters" — waters  incredibly  great,  where  "a 
man  upon  the  shore  could  not  see  the  farther  side." 

In  reverent  silence  they  gazed,  while  the  chief  stepped  solemnly 
to  the  water's  edge  and  with  quiet  prayer  sprinkled  sacred  corn- 
pollen  on  each  receding  wave.  Two  priests  followed,  and  stood 
absorbed  in  chant,  while  the  rising  tide  washed  up  about  their 
ankles.  Then  all  the  little  band  approached  the  water,  praying 
and  scattering  their  pollen-sacrifice. 

"So  much  of  water  is  there  here,"  they  prayed,  "here  where 
there  seems  no  need.  With  us  the  need  is  great.  As  we  give  of 
our  offering,  so  may  there  be  given  to  us  of  these  Great  Waters." 


Prayer  by  the  Great  Waters 

“  Two  priests  stood  absorbed  in  chant,  while  the  rising  tide  washed  up  about  their  ankles  ” 


NAVAJO 


TRO  HATAL 

Song  of  the  Rain-Chant 

Sang  and  told  by  a  Navajo  “Chanter”  (Medicine-Man)  of  Arizona 

HE  Navajo  ceremonies  are  called  “ Chants.”  This  is  a 
song  from  the  “  Water,  or  Rain,  Chant.”  The  Navajos 
tell  of  the  Male -Rain  and  of  the  Female -Rain.  The 
Male-Rain  is  the  storm,  with  thunder  and  lightning? 
the  Female -Rain  is  the  gentle  shower.  The  two  Rains  meet  on 
the  mountains,  and  from  their  union  springs  all  vegetation  upon 
the  earth.1 

The  Rain-Mountain  is  a  distant  mountain  west  of  Zuni,  and  it  is 
the  home  of  the  Rain-Youth,  one  of  the  Divine  Beings.  The  Rain- 
Youth  made  the  rain-songs  and  gave  them  to  the  Navajos.  This 
song  tells  of  him  with  the  rain-feathers  in  his  hair,  coming  with  the 
rain,  down  from  the  Rain-Mountain,  through  the  com,  amid  the 
song  of  swallows  chirping  with  joy  of  the  rain,  and  through  the 
pollen  which  covers  him,  so  that  the  Rain-Youth  himself  is  hidden, 
and  only  a  mist  is  seen.  The  Navajos  say  that  it  is  well  to  be  covered 
with  holy  pollen,  for  such  pollen  is  an  emblem  of  peace. 


TRO  HATAL 


SONG  OF  THE  RAIN-CHANT 


Niye  timshten 

Shic/zl  tsha  huiyish  tm’shta — a-ye-na. 


Far  as  man  can  see. 

Comes  the  rain. 

Comes  the  rain  with  me. 


Niltsarc  Dsic/zl-iye 
Biya  ra-ashte, 

Shic/il  tsha  huiyish  ti/i'shta — a-ye-na. 


From  the  Rain-Mount, 
Rain-Mount  far  away. 

Comes  the  rain. 

Comes  the  rain  with  me. 


Tshi-natan  a-tso-hiye 
Betra-ko, 

Shic/il  tshahuiyish  t in'  shta— a-ye-na, 


O'er  the  corn. 

O'er  the  corn,  tall  corn. 
Comes  the  rain. 

Comes  the  rain  with  me. 


1  See  “  The  Ceremonial  of  Hasjelti  Dailjis,”  by  James  Stevenson.  Extract  from  the  Eighth 
Annaal  Report  of  the  Bureau  of  American  Ethnology,  "Washington,  D.  C. 

[365] 


THE  INDIANS'  BOOK 


Betra-ko 

Ka’  itsiniklizh-iye, 

Ka’  itahazla-ko, 

ShicAl  tsha  huiyish  tin’  shta — a-ye-naf 


Betra-ko 

Ka’  trashjesh  dotlizh-iye 
Ka’  enadetla-ko, 

ShicAl  tsha  huiyish  tin  shta — a-ye-na. 


Betra-ko 

Tradetin-iye 

Banga-toyishtini-ko, 

ShicAl  tsha  huiyish  tin’  shta — a-ye-na, 


Niye  tinishten 

ShicAl  tsha  huiyish  tin’  shta — a-ye-na. 


’Mid  the  lightnings, 

’Mid  the  lightning  zigzag, 

’Mid  the  lightning  flashing. 
Comes  the  rain. 

Comes  the  rain  with  me. 

’Mid  the  swallows, 

’Mid  the  swallows  blue 
Chirping  glad  together. 

Comes  the  rain. 

Comes  the  rain  with  me. 

Through  the  pollen, 

Through  the  pollen  blest. 

All  in  pollen  hidden 
Comes  the  rain. 

Comes  the  rain  with  me. 

Far  as  man  can  see 
Comes  the  rain. 

Comes  the  rain  with  me. 


DSXCHLYIDJE  RATAL 


Song  from  the  Ceremony  of  the  Mountain-Chant 
Sung  and  told  by  a  Navajo  “Chanter”  (Medicine-Man)  of  Arizona 


HE  Holy  Youth,  Tsilc/ike  Digini,  loved  a  mortal  maid, 
and  to  make  her  divine  like  himself,  so  that  he  might 
take  her  to  wife,  he  sang  holy  songs  over  her.  Thence¬ 
forth  she  was  called  Estsan  Digini,  The  Holy  Woman. 
Together  the  two  gave  these  songs  to  the  Navajos,  to  be  used  by 
them  as  a  cure  for  sickness.  During  the  ceremony  of  the  mountain- 
chant,  four  runners  are  dressed  to  represent  four  holy  beings — 
The  Holy  Youth,  The  Holy  Woman,  Alilorani  (The  Lightning 
Youth),  and  Digini  -  ossini  (The  Holy  Believer).1  The  last  two 
are  The  Holy  Youth  and  The  Holy  Woman  in  other  forms.  These 

1  The  translation  of  the  last  two  names  is  of  somewhat  doubtful  accuracy.  According  to 
Dr.  Washington  Matthews,  “  Altlt  means  show,  dance,  or  other  single  exhibition  of  the  rites. 
It  also  means  a  wand  or  other  sacred  implement  used  in  the  rites.”  The  mythical  colored  hoops 
for  raising  a  storm  are  also  referred  to  as  alilu  Or  ant  may  possibly  be  hogani,  the  “  g  ”  in  the 
latter  word  being  pronounced  like  the  guttural  “  r.” 

[  366  ] 


•  •  -Myish  tin’  shta-r-a-ye-na» 


C  nes  :  ?  x&-  1  with  me, 

the  swallows, 

Mid  .  ie  sw  allows  blue 

homes  the  rain  with  m:  . 


* 

.  it>-0i£.tn«. - M  siii  io  Yawn,  :  -*  ns  '.wisiq-feltBc:  bst- r.<0  ff 


■'h\g  from  the  C  femony  <"  '  "Moact  ^<~Gbaa!fc . 


,oved  a  tiorfcal  maid, 

'  ii  ,  ■  ,Y  ;'S  ‘ 


NAVAJO 


four  runners  carry  sacred  corn-meal  in  their  pouchest  to  sprinkle 
upon  medicine-men  as  a  summons  to  attend  the  ceremony,  each 
with  his  own  songs  and  dances*  At  some  part  of  the  ceremony,  one 
of  the  chanters  (medicine-men)  thus  makes  a  sand-picture  of  the 
four  Digini,  or  “Divine  Ones,”  placing  them  from  left  to  right: 
The  Holy  Youth,  The  Holy  Woman,  The  Lightning  Youth,  and 
The  Holy  Believer.  The  sand -pictures1  are  made  in  this  wise: 
Upon  the  floor  of  the  hogan  is  spread  fresh  sand  smoothed  flat; 
then  upon  this  background  the  medicine -man  and  his  assistants 
make  the  symbolic  figures,  by  sifting  through  thumb  and  finger 
colored  powders  ground  from  minerals  and  charcoal. 

In  the  picture  of  the  four  Digini,  the  black  streak  at  the  bottom 
represents  the  hogan  of  The  Holy  Youth  and  The  Holy  Woman. 
Above  the  heads  of  the  Divine  Ones  are  the  guardian  bats  of 
the  hogan.  A  rainbow  surrounds  the  picture,  decked  with  sprays 
of  prayer-feathers.  Each  figure  stands  upon  a  piece  of  rainbow, 
for  it  is  upon  the  rainbow  that  the  Divine  Ones  travel.  Streaks 
of  lightning  are  painted  upon  the  legs,  for  lightning  is  the  symbol 
of  speed;  around  the  neck  hangs  a  whistle  of  eagle  bone;  while 
on  the  arms  are  bracelets2  of  eagle  feathers,  for  the  Divine  Ones 
move  swiftly,  as  with  wings.  The  forms  are  naked  except  for 
the  richly  decorated  sash  and  the  “woman's  belt.”  Their  bodies 
are  painted  with  clays  of  different  colors.  In  the  right  hand 
each  figure  holds  a  pouch  containing  corn-meal,  and  in  the  left 
a  small  ceremonial  basket  and  a  sprig  of  spruce,  which  can  be 
swallowed  and  drawn  up  again  by  those  who  have  holy  power. 
From  the  ears  hang  pendants  of  turquoise,  and  on  the  heads  are 
five  rain-feathers  pointing  upward  towards  the  clouds.  The  medi¬ 
cine-men,  while  dressing  the  runners  to  represent  the  Divine  Ones, 
chant  the  following  song: 


1  Otherwise  known  as  “  dry-paintings.” 

2  The  bracelets  are  omitted,  probably  by  error,  from  the  accompanying  sand-painting. 


THE  INDIANS'  BOOK 


DSICHLYIDJE  HATAL 

SONG  FROM  THE  MOUNTAIN-CHANT 

Baiyajiltriyish, 

Thereof  he  telleth. 

Tsilc/tke  digini, 

Baiyajiltriyish, 

Now  of  the  Holy  Youth, 

Thereof  he  telleth. 

Ke-pa-nashjini, 

Baiyajiltriyish, 

Moccasins  decked  with  black. 
Thereof  he  telleth. 

Kla-pa-naska/t-a, 

Baiyajiltriyishi, 

And  richly  broidered  dress. 
Thereof  he  telleth. 

Ka'  ka  pa-stran-a, 
Baiyajiltriyish, 

Arm-bands  of  eagle  feathers, 
Thereof  he  telleth. 

Niltsan  atsoz-i, 

Baiyajiltriyish, 

And  now  the  rain-plumes. 

Thereof  he  telleth. 

Niltsan-bekarc-a, 

Baiyajiltriyish, 

Now  of  the  Male-Rain,1 

Thereof  he  telleth. 

Ka'  bi  datro-e, 

Baiyajiltriyish, 

Now  of  the  rain-drops  fallen. 
Thereof  he  telleth. 

Sa-a  narai*, 

Baiyajiltriyish, 

Nov/  of  Unending  Life, 

Thereof  he  telleth. 

Bike  hozhoni, 

Baiyajiltriyish, 

Now  of  Unchanging  Joy, 

Thereof  he  telleth. 

Baiyajiltriyish,3 

Thereof  he  telleth. 

1  The  Male-Rain  is  the  heavy  storm-rain,  with  lightning  and  thunder?  the  Female-Rain  is 
the  gentle  shower.  Both  kinds  of  rain  are  prized  in  sickness  for  their  cooling  power. 

2  A  second  stanza  follows,  identical  with  the  first,  except  that  the  word  estsan  (woman) 
takes  the  place  of  tsitchke  (youth)  and  the  word  Niltsan-baad  (female-rain)  that  of  Niltsanbekan 
(male-rain).  In  the  second  stanza  the  refrain  baiyajiltriyish  is  to  be  translated  “  thereof  she 
telleth.” 


NAVAJO 


DINNI-E  SIN 
% 

Hunting-Song 

Sung  and  told  by  Navajos,  near  Fort  Defiance,  Arizona 


LL  animals  of  the  chase  are  the  herds  of  Hastyeyalti, 
God  of  Sunrise.  Hastyeyalti  is  god  of  gamet  and  he 
made  the  hunting-songs  and  gave  them  to  the  Navajos. 
In  the  old  days,  before  they  were  shepherds,  the  Navajos 
lived  by  hunting.  The  Navajo  hunter  sits  quite  still  and  chants 
a  song,  and  the  game  comes  straight  to  him.1  When  the  animal 
is  near  enough,  the  hunter  shoots  him  through  the  heart.  The 
Navajos  say  that  the  deer  like  the  song  of  the  hunter,  and  come 
from  all  directions  to  hear  it. 

When  a  man  starts  to  hunt  he  first  prays  to  Hastyeyalti,  then 
he  sings  a  holy  song  to  the  god,  and  then  he  sings  the  hunting-songs. 
If  he  miss  a  word  or  make  a  mistake  in  the  song  he  will  have  ill 
luck.  But  if  his  song  be  without  error  of  any  kind  he  will  surely 
kill  something. 

In  this  song  the  hunter  likens  himself  to  the  beautiful  black¬ 
bird  loved  by  the  deer.  The  Navajos  say  that  this  bird  alights 
on  the  animals  and  sometimes  tries  to  make  its  nest  between  the 
horns.  The  refrain  of  the  song  tells  of  the  coming  of  the  deer — 
how  he  makes  a  trail  from  the  top  of  Black  Mountain  down  through 
the  fair  meadows,  how  he  comes  through  the  dew-drops  and  the 
pollen  of  the  flowers,  and  then  how,  startled  at  sight  of  the  hunter, 

1  This  can  readily  be  believed,  for  the  Indian  can  be  absolutely  immovable.  The  measured 
chant  attracts  the  animals,  who,  always  curious,  first  come  to  find  out  what  is  the  sound,  and  are 
then  almost  hypnotized,  as  it  were,  by  the  monotony  and  rhythm  of  the  chanting.  A  young 
Navajo  who  had  been  educated  away  from  the  reservation  told  the  recorder  that  he  had  been 
taught  to  look  upon  the  ways  of  his  people  as  foolish  and  superstitious.  He  did  not  believe  in 
what  the  Navajos  told  him  of  their  hunting.  One  day  an  old  uncle  took  him  to  hunt.  The 
two  men  sat  motionless  while  the  uncle  chanted.  Then  the  young  man  saw  that  the  Navajos 
had  spoken  truly,  for  the  deer  walked  straight  to  the  hunters  and  fell  their  easy  prey.  "  Since 
then,”  declared  the  young  man,  “  I  believe  that  the  old  people  have  wisdom  that  the  white 
men  do  not  always  know  about.”  Pueblo  Indians  say  that  before  they  start  on  the  hunt  they 
sing,  bending  every  thought  on  prayerful  wish  for  success.  "While  they  sing,  the  distant  deer 
gather  in  council  and  choose  to  whom  each  will  fall.  To  those  who  have  been  most  devout  in 
singing  will  the  animals  go.  This  idea  is  held  by  the  Navajos  also,  as  is  shown  in  this  song. 
Indians  believe  in  man's  power  to  draw  to  himself  or  to  bring  about  that  upon  which  he  fixes 
his  mind  in  song  and  prayer. 


[3691 


THE  INDIANS'  BOOK 


he  stamps  and  turns  to  run.  But  the  man  kills  him,  and  will  kill 
yet  many  another,  for  he  is  lucky  and  blessed  in  hunting.  The 
Navajos  say  that  the  male  deer  always  starts  with  the  left  foreleg, 
the  female  with  the  right.  This  is  an  ancient  song  made  by  the 
god  Hastyeyalti. 


DINNI-E  SIN 

HUNTING-SONG 

Ye  shakaikatal,  i-ne-yanga. 
Ye  shakaikatal,  ai-ye-lo. 

Ye  shakaikatal,  i-ne-yanga. 

Comes  the  deer  to  my  singing. 

Comes  the  deer  to  my  song. 

Comes  the  deer  to  my  singing. 

Ka'  aiyash-te  tilyilcA-ye 

Shini  shlini  ko-lo, 

Ye  shakaikatal,  i-ne  yanga 

He,  the  blackbird,  he  am  I, 

Bird  beloved  of  the  wild  deer. 

Comes  the  deer  to  my  singing. 

Dsic/il-tilyilc/z-iye 

Bakashte 

Ka’  ta-adetin  'shte  lo. 

Ye  shakaikatal,  i-ne  yanga 

From  the  Mountain  Black, 

From  the  summit, 

Down  the  trail,  coming,  coming  now. 
Comes  the  deer  to  my  singing. 

Tshilatra  hozhoni-ye 

Bitra  'shte  lo. 

Ye  shakaikatal,  i-ne  yanga 

Through  the  blossoms, 

Through  the  flowers,  coming,  coming  now. 
Comes  the  deer  to  my  singing. 

Bi  datro-iye 

Bitra  'shte  lo. 

Ye  shakaikatal,  i-ne  yanga 

Though  the  flower  dew-drops, 

Coming,  coming  now. 

Comes  the  deer  to  my  singing. 

Ka'  bi  tradetin-iye 

Bitra  'shte  lo. 

Ye  shakaikatal,  i-ne  yanga 

Through  the  pollen,  flower  pollen. 
Coming,  coming  now. 

Comes  the  deer  to  my  singing. 

Dinnitshe-bekan-iye 

Bitzil-le  deshklashd j i-lo 

Ye  shakaikatal,  i-ne  yanga 

Starting  with  his  left  fore-foot. 

Stamping,  turns  the  frightened  deer 
Comes  the  deer  to  my  singing. 

Bisedje 

Ka’  shinosin-ku  lo. 

Ye  shakaikatal,  i-ne  yanga 

Quarry  mine,  blessed  am  I 

In  the  luck  of  the  chase. 

Comes  the  deer  to  my  singing. 

Ye  shakaikatal,  i-ne-yanga. 
Ye  shakaikatal,  ai-ye-lo 

Comes  the  deer  to  my  singing. 

Comes  the  deer  to  my  song. 

Ye  shakaikatal,  i-ne-yanga.  Comes  the  deer  to  my  singing. 

A  second  stanza  follows,  identical  with  the  first,  except  that  the  word  baad  (female)  takes 
the  place  of  bekan  (male),  and  the  word  deshna.sk  (right)  that  of  deshklashdji  (left.) 

[370] 


Offering  Sacred  Corn-pollen  on  the  Waters 


NAVAJO 


NAESTSAN  BIYIN 

Song  of  the  Earth 
(Hozhonj  i-Song) 

N  a  ceremony  for  the  healing  of  the  sick,  the  Navajos 
sing  of  all  things  in  the  world,  declaring  them  perfect 
as  when  first  made — the  heavens,  winds,  clouds,  rain, 
lightning,  rainbow,  sun,  moon,  stars;  the  earth,  the 
mountains,  the  com,  and  all  the  growing  things;  in  sequence  of  holy 
songs  all  forms  of  life  are  pronounced  beautiful  and  good* 

These  songs  are  sung  over  the  sick  man,  and  the  sufferer  is  thus 
placed  in  a  perfect  world,  so  that  new  and  perfect  life  comes  to  him 
also*  He  is  reborn  into  a  state  of  wholeness*  Thereafter  he  may 
wear  a  turquoise  or  bit  of  shell  tied  in  his  hair  as  a  sign  of  his  new 
birth. 

This  song  is  not  a  medicine-song  but  a  Hozhonj  i-song.  But 
like  the  medicine  ceremony,  it  declares  all  things  beautiful.  It  is 
highly  revered  and  has  great  power  to  bless.  It  is  a  benediction 
on  the  created  world*  It  tells  how  all  things  go  in  pairs,  bending 
towards  each  other,  joining  and  helping  one  another,  as  the  heavens 
help  the  earth  with  rain. 

Though  the  Navajos,  like  the  Pueblos,  have  com  of  many  colors, 
white  com  and  yellow  corn  are  the  two  kinds  most  often  used  em¬ 
blematically  in  the  songs.  Of  the  white  corn  was  made,  in  the  be¬ 
ginning,  First-Man,  and  of  the  yellow  com,  First-Woman.  The 
white  com  is  looked  upon  as  male,  and  the  yellow  com  as  female. 
Also,  white  is  the  symbolic  color  of  the  east,  and  yellow  of  the 
west. 

“  The  Ripener  ”  is  he  that  makes  the  corn  ripe.  This  is  an  in¬ 
sect  that  flies  among  the  plants,  possibly  the  wild  bee.  The  Navajos 
say:  **  It  has  spotted  wings,  three  on  each  side.  It  makes  a  very 
pretty  noise  and  comes  in  the  night-time.  It  eats  corn-pollen  and 
only  comes  when  the  corn  is  ripening.” 

The  idea  that,  in  nature,  contrasting  elements  are  complements 

and  helpmates  of  one  another  is  carried  in  the  end  of  the  song  to  the 

[371] 


THE  INDIANS'  BOOK 


transcendent  point  of  Everlasting  Life,  and  the  Happiness  of  All 
Things.  Besides  thist  the  earth  or  the  sun  is  sometimes  symboli¬ 
cally  called  Sa-a  narai  (Everlasting  Life),  and  the  sky  or  the  moon, 
Bike  hozhoni  (Happiness  of  All  Things,  or  Universal  Blessedness). 

Sometimes,  after  singing  this  Hozhonji-song,  the  Navajo  sprinkles 
sacred  pollen  on  the  ground,  calling  the  earth  **  Mother,"  and  then 
scatters  pollen  upward  to  the  sky,  calling  the  heavens  “  Father." 


NAESTSAN  BIYIN 


SONG  OF  THE  EARTH  (Hozhonji-Song) 


Daltso  hozhoni, 
Daltso  hozho’ka', 
Daltso  hozhoni. 


All  is  beautiful, 

All  is  beautiful. 

All  is  beautiful,  indeed. 


Naestsan-iye, 

Yatilyilc/z-iye, 

Pilc/i  ka'  altsin  sella 
Ho-ushte-hiye. 

Daltso  hozhoni, 
Daltso  hozho'ka', 
Daltso  hozhoni. 


Now  the  Mother  Earth 
And  the  Father  Sky, 

Meeting,  joining  one  another. 
Helpmates  ever,  they. 

All  is  beautiful, 

All  is  beautiful. 

Alb  is  beautiful,  indeed. 


Sisnajinni-ye, 

Tsodsic/d-iye, 

Pilc/i  ka'  altsin  sella 
Ho-ushte-hiye. 

Daltso  hozhoni. 
Daltso  hozho’ka’, 
Daltso  hozhoni. 


Sisnajinni, 

Tsodsic/zl, 

Meeting,  joining  one  another. 
Helpmates  ever,  they. 

All  is  beautiful. 

All  is  beautiful. 

All  is  beautiful,  indeed. 


Ka*  Doko-oslid-iye, 

Ka’  Depenitsa-ye, 

Pilc/i  ka’  altsin  sella 
Ho-ushte-hiye. 

Daltso  hozhoni, 
Daltso  hozho'ka', 
Daltso  hozhoni. 


Now  Doko-oslid 
And  Depenitsa, 

Meeting,  joining  one  another, 
Helpmates  ever,  they. 

All  is  beautiful. 

All  is  beautiful. 

All  is  beautiful,  indeed. 


Ka'  Tshalyilc/i, 
Hayolkatli-ye, 

Pilc/z  ka’  altsin  sella 
Ho-ushte-hiye. 


And  the  night  of  darkness 
And  the  dawn  of  light. 

Meeting,  joining  one  another, 
Helpmates  ever,  they. 


[372] 


Daltso  hozhoni, 
Daltso  hozho’ka', 
Daltso  hozhoni. 


NAVAJO 


Ka’  Hastyeyalti-ye, 

Ka’  Hastyehogani-ye, 
Pilch  ka’  altsin  sella 
Ho-ushte-hiye. 

Daltso  hozhoni, 
Daltso  hozho'ka’, 
Daltso  hozhoni. 

Ka'  natarc-alc/ikaY-ye, 
Ka'  natan-alc/ztsoY-ye, 
Pilch  ka’  altsin  sella 
Ho-ushte-hiye. 

Daltso  hozhoni, 
Daltso  hozho’ka', 
Daltso  hozhoni. 


All  is  beautiful. 

All  is  beautiful. 

All  is  beautiful,  indeed. 

Now  Hastyeyalti 
And  Hastyehogan 

Meeting,  joining  one  another. 
Helpmates  ever,  they. 

All  is  beautiful. 

All  is  beautiful. 

All  is  beautiful,  indeed. 

And  the  white  com 
And  the  yellow  corn. 

Meeting,  joining  one  another. 
Helpmates  ever,  they. 

All  is  beautiful. 

All  is  beautiful, 

All  is  beautiful,  indeed. 


Tradetin-iye, 

AnilcAtani-ye, 

Pilch  ka'  altsi n  sella 
Ho-ushte-hiye. 

Daltso  hozhoni, 
Daltso  hozho’ka’, 
Daltso  hozhoni. 


And  the  corn-pollen 
And  the  Ripener, 

Meeting,  joining  one  another. 
Helpmates  ever,  they. 

All  is  beautiful. 

All  is  beautiful, 

All  is  beautiful,  indeed. 


Ka'  sa-a  naraY, 

Ka'  bike  hozhoni-ye, 
Pilch  ka'  altsin  sella 
Ho-ushte-hiye. 

Daltso  hozhoni, 
Daltso  hozho'ka', 
Daltso  hozhoni. 


Life-that-never-passeth, 

Happiness-of-all-things, 

Meeting,  joining  one  another. 
Helpmates  ever,  they. 

All  is  beautiful. 

All  is  beautiful, 

All  is  beautiful,  indeed. 


Daltso  hozhoni, 
Daltso  hozho'ka', 
Daltso  hozhoni. 


Now  all  is  beautiful, 

All  is  beautiful, 

All  is  beautiful,  indeed. 


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— 


PUEBLO  INDIANS  TITLE-PAGE 

The  design  at  the  bottom  of  the  page  is  a  symbolic  figure  which 
represents  in  conventionalized  form  clouds,  lightning,  and  fall¬ 
ing  rain.  The  drawing,  made  free-hand,  is  by  Gashhoienim,  a 
Hopi  Indian  girl. 

The  lettering  and  decorations  are  by  Hinook  Mahiwi  Kilinaka 
(Angel  De  Cora).  Each  letter  is  composed  of  the  terraced 
cloud-form,  typical  of  Southwestern  Indian  designs.  Behind 
the  words  “  Pueblo  Indians  ”  is  seen  a  suggestion  of  a  pueblo 
crowning  a  steep  mesa.  On  each  side  of  the  cloud-design  are 
lightning  arrows.  The  page  speaks  of  the  village  people,  in 
whose  agricultural  life  the  great  necessity  is  rain. 


£ 


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s-(F  ngiasb-bwob  srfi  to  sbis  ibss  O  .Las m  qssta  £  gninwoio 
ni  -dqooq  -igatliv  srit  to  adisaqa  sg-sq  sriT  awons  gnintrfgit 
nijBt  si  v  riasoooi  Jastg  sdJ  sti)  hsmtluongu  saodw 


. 


THE  PUEBLO  INDIANS 


UEBLO  ”  is  a  Spanish  word  meaning  town,  and  is  used 
to  designate  those  Indians  who  live  in  villages  or  cities* 
Ancient  Indian  towns  still  inhabited,  and  ruins  of  yet 
older  cities,  lie  strewn  throughout  New  Mexico  and  Arizona, 
the  home  of  the  Pueblo  people.  Though  the  natives  of  the  different 
Pueblos  are  of  different  linguistic  stock,  yet  they  closely  resemble 
one  another  in  their  manner  of  life  and  in  their  thought. 

The  Pueblo  Indians  have  ever  been  a  peaceful  agricultural 
folk,  subsisting  on  the  corn,  vegetables,  and  fruits  which  by  dint 
of  ceaseless  toil  they  force  from  the  arid  land.  They  have  their 
own  peculiar  methods  of  desert-agriculture  and  their  own  system 
of  irrigation. 

Rumors  of  the  wealth  and  splendor  of  the  Indian  towns  at¬ 
tracted.  the  Spanish  explorers  of  the  sixteenth  century.  Over  the 
deserts  marched  the  weary  invaders,  only  to  find  a  simple  folk 
living  as  now  in  villages  of  stone  and  adobe.  The  Spaniards  sub¬ 
dued  the  Pueblos  and  controlled  them  till,  in  the  year  1680,  the 
villages  rose  in  concerted  rebellion  and  drove  out  the  hated  con¬ 
querors. 

The  Pueblo  Indians  have  attained  to  a  very  high  grade  of  culture 
on  the  primitive  plane.  They  excel  in  their  own  ancient  industries, 
being  skilled  potters,  weavers,  basket-makers,  and  builders.  Also 
they  have  in  crude  form  veritable  musical,  poetic,  and  dramatic 
art.  As  with  all  Indians,  religion  is  here  closely  interwoven  with 
art  and  industry  and  with  daily  living.  But  with  the  Pueblo  Indians, 
religious  observance  is  perhaps  more  elaborately  ceremonial  than 
with  most  tribes.  The  Pueblos  are  rich  in  mythology  and  tradition, 
and  their  simple  village  life  is  framed  in  ancient  customs  both  in¬ 
teresting  and  poetic.  Symbol  begins,  for  these  Indians,  with  the 

hour  of  birth.  In  some  villages  it  is  the  custom  that  the  new- 

27  [425] 


THE  INDIANS'  BOOK 


born  child  shall  not  behold  the  outside  world  until,  after  a  stated 
number  of  days,  it  is  carried  forth  at  dawn  to  see  its  father,  the  sun. 
As  the  first  rays  shine  upon  the  child,  prayers  are  uttered  for  the 
new  life,  while  over  the  little  one  are  solemnly  repeated  its  newly 
given  names.  Thus  at  birth  does  the  Pueblo  Indian  first  look  upon 
the  world  at  birth  of  day.  Existence,  for  him,  begins,  unfolds, 
and  ends  with  symbol  that  is  the  very  poetry  of  life  itself. 

The  religion  of  this  desert  -  dwelling,  agricultural  people  ex¬ 
presses  the  supreme  need  —  rain.  Song  and  ceremony  are  one 
long  invocation  for  the  life  -  producing  waters.  Hard  must  the 
Pueblo  Indian  work,  struggling  against  drought  and  sand-storm 
to  procure  the  corn  which  is  his  sustenance. 

Of  these  village  -  dwellers  the  Spanish  conquerors  narrated, 
“  They  have  the  finest  persons  of  any  people  we  saw.”  They  are 
small  and  brown,  delicate  of  feature,  courteous  of  manner,  gentle 
and  refined.  The  native  dress  has  beauty  and  charm,  and  is  per¬ 
fectly  adapted  to  the  climate  and  to  the  life  of  the  people.  But 
it  is  passing  away  before  the  effort  to  force  all  things  Anglo-Saxon 
upon  this  unaggressive,  beauty-loving  folk. 

The  peaceful  disposition  of  the  Pueblo  Indians  and  their  native 
ancient  systems  of  civic  government  have  made  of  their  villages 
well-ordered,  thrifty,  and  industrious  communities.  The  white 
visitor  learns  many  a  simple  lesson  from  the  life  of  these  most  ancient 
inhabited  towns  of  the  United  States,  the  pueblos  of  the  Southwest. 


The  designs  are  Zuni  pottery  patterns.  Painted  by  Ema-liya, 
a  Ztmi  girl.  The  Zunis,  like  most  Ptteblo  Indians,  are  skilled 
potters. 

The  lettering  is  by  Hinook  Mahiwi  Kilinaka  (Angel  De  Cora). 


e 


■  <ss 


THE  INDIANS’’  BOOK 


1  not  behc-  the  outside  world  until,  after  a  stated 
days-  it  is  car r tec  forth  at  dawn  to  see  its  father,  the  son. 
As  the  first  rays  shine  upon  the  child,  .prayers  are  tittered  for  the 
hile  over  the  tie  one  are  solemnly  repeated  its  newly 
gi  lames*  has  :  bk  -U  coes  the  Pueblo  Indian  first  look  upon 
•Id.  at  birth  of  day.  Existence,  for  him,  begins,  unfolds, 
wit h  symbol  that  is  the  very  poetry  of  life  itself, 

of  this  desert  -  dwelling,  •  agricultural  people  ex- 
rain,  Song  and  ceremony  are  one 
■  avocation  for  the  life  -  producing  waters.  Hard  must  the 
V  Indian  work,  -struggling  against  drought  and  sand-storm 

Spanish  conquerors  narrated, 
d  y  -rr  ■  - saw,  ” — Ijhey  are 

lo-Saxpn 


■i  30Aa-''!iliiflTr  T&!  ft  ^  ~  m*-'cQef: 

and  ref  mid.  The  native  'dress  has  beauty  and  charm,  and 

::ypi£<r  'm3* If  ifi*£  tM'  gfifc.ipfcw 

osHfafe  --!«£■- vaftfiifoni  trisiA’  '  ;id 

,  •  .(atoJ  '  IsgnA)  bjIx  :;i  t  ;wiru I  Aooj.iH  yd  n  %nhaitsl  sriT 


■-mvcsr - - -~4*rt-d-  flat  i  v  t 


~~~"r  - ~ — — ™ 

rut  s'  stems  d  -mr  it  h  -  v  made  oi  'their  villages. 

tu  -  industrious  communities.  ■  The  whim 

r  cm  the  Me  of  these  most  ancient 

times.  the  pueblos  of  the  Southwest, 


ZUNI 


UNI  is  one  of  the  most  famed  of  all  Pueblos.  It  is  now 
generally  agreed  that  the  Seven  Cities  of  Cibola,  chron¬ 
icled  by  the  Spanish  discoverers,  were  identical  with  the 
habitations  of  the  Zuni  people.  The  pueblo  lies  on  the 
level  plain  near  an  arm  of  the  Little  Colorado  River.  Around  it 
rise  the  steep  buttes  and  table-lands  of  New  Mexico.  To  the  east 
stands  the  great  mesa1  **  To'yallanne,” 2  the  sacred  mountain  of  the 
Zunis,  ever  hallowed  by  tradition  and  prayerful  pilgrimage.  Com 
is  the  main  sustenance  of  the  Pueblo  people.  It  is  ground  by  the 
women  in  stone  grinding-troughs,  or  u  metates.”  These  consist  of 
a  flat  stone  slab  which  is  set  into  the  floor  of  the  house  at  a  slight 
angle,  and  encompassed  by  stone  gutters  to  receive  the  ground 
particles. 

The  corn  is  placed  on  the  stone  and  is  ground  by  rubbing  over 
it  another  cubelike  stone.  The  woman  kneels  to  the  work  and 
sways  back  and  forth  with  rhythmic  swing.  As  she  grinds  she 
sings.  There  are  usually  two  or  three  metates  in  each  house,  and 
two  or  three  women  often  grind  and  sing  together.  Sometimes  a 
woman  will  invite  many  others  to  her  house  to  grind,  spreading 
for  her  guests  a  mid-day  feast.  The  visitors  grind  the  corn  of 

NOTE  FOR  PRONUNCIATION  OF  ZUNI  TEXT 

While  in  many  Indian  languages  there  are  sounds  not  exactly  the  same  as  in  the 
corresponding  ones  of  European  tongues,  in  the  Zuni  occur  sounds  that  have  no 
counterpart  at  all  in  European  languages.  Such  sounds,  therefore,  can  be  expressed 
by  the  Roman  alphabet  approximately  only. 

Unless  otherwise  specified,  vowels  have  the  Continental  sound,  and  consonants 
the  English. 

1  Table-land — plateau. 

2  According  to  Mrs.  M.  C.  Stevenson,  "  Towa  -  Yallanne  ”  (Corn  -  Mountain) ;  according  to 
Mr.  Frank  Cushing,  “  Toyalane  ”  (Thunder-Mountain). 

[4291 


THE  INDIANS'  BOOK 


their  hostess,  taking  their  places  in  turn  at  the  metates.  Those 
who  are  resting  swell  the  chorus  of  the  workers,  and  the  flutelike 
voices  rise  high  and  clear  over  the  rhythmic  scraping  of  the  stones. 
In  Zuni,  at  such  gatherings,  the  youths  sometimes  sing,  or  play  the 
flute  and  drum,  while  the  maidens  ply  the  stones,  and  when  the 
grinding  is  done  the  maidens  dance. 

The  Zuni  grinding-songs  here  offered  are  old  traditional  songs. 
Two  were  sung  by  women  whose  white  hair  and  quavering  voices 
told  of  wellnigh  fourscore  years.  All  the  songs  were  contributed 
by  persons  high  in  authority  in  the  village,  whose  traditional  con¬ 
servatism  forbids  the  mention  of  their  names. 


GCKAYA 


Corn-Grinding  Songs 


OCKAYA 


I 


CORN-GRINDING  SONG 


Elu  homa 

Yallanne ! 

Elu  homa 

Yallanne  ! 
Yallanne  ! 
Awehlwia'  kwai-i, 
Imuna  kwagia, 
Lonan-eshto  'wiyane, 
He-ya,  ha-ya,  he-ya  1 
Liwamani 
Iyuteapa 
Awiyane, 

Hawilana  litla. 


O,  my  lovely  mountain, 

To’yallanne  ! 

O,  my  lovely  mountain, 

To’yallanne  ! 

To'yallanne  ! 

High  up  in  the  sky, 

See  Rain-Makers  seated, 

Hither  come  the  rain-clouds  now, 

He-ya,  ha-ya,  he-ya  ! 

Behold,  yonder 

All  will  soon  be  abloom 

Where  the  flowers  spring — 

Tall  shall  grow  the  youthful  corn-plants. 


Note. — Mrs.  Stevenson,  of  the  Bureau  of  American  Ethnology  in  Washington,  says  that 
the  Rain-Makers  are  the  spirits  of  the  dead  Zunis,  who,  dwelling  in  the  nether  world,  come  at 
the  summons  of  the  gods  to  make  rain  for  the  Zuni  people.  The  clouds  are  their  masks,  for 
their  faces  are  too  holy  to  be  seen  of  men.  So  when  impersonating  the  Rain-Makers  in  their 
dances,  the  Zunis  wear  masks. 

See  “  The  Zuni  Indians,  their  Mythology,  Esoteric  Societies,  and  Ceremonies,"  by  Matilda 
Coxe  Stevenson,  Twenty-third  Annual  Report,  Bureau  American  Ethnology.  **  Outlines  Zuni 
Creation  Myths,”  by  Frank  Hamilton  Cushing,  Thirteenth  Annual  Report,  Bureau  American 
Ethnology. 


[4301 


Going  to  the  Spring  in  Winter 


ZUNI 


\ 

II 


Sung  by  the  youths  while  the  maidens  grind  the  corn 


OCKAYA 


CORN-GRINDING  SONG 


Elu  honkwa  lonan  iyane  ! 
Elu  honkwa  hliton  iyane  ! 
Lekwa  kela  aiyan-towa 
Pene  aiyaye 
Maihoma  antuna, 
Holon-ellete 
Lilthno  kela 
Kiawe-kwai-i  nuwane  1 


Lovely  !  See  the  cloud,  the  cloud  appear  I 
Lovely  !  See  the  rain,  the  rain  draw  near  ! 

Who  spoke  ? 

’Twas  the  little  corn-ear 
High  on  the  tip  of  the  stalk 
Saying  while  it  looked  at  me 
Talking  aloft  there — 

“  Ah,  perchance  the  floods 
Hither  moving — 

Ah,  may  the  floods  come  this  way  !” 


Ill 

In  this  song  the  rainbow  is  imagined  as  the  Rainbow  Youth, 
and  he  is  described  as  “  brightly  decked  and  painted.”  The  swallow 
is  the  summoner  of  rain.  The  Zunis  say  he  “  sings  for  rain  !” 


OCKAYA 

Amitola  tsina-u-u-ne 
Elu,  elu  toma  wahane 
Kiawulokia  pena  wulokia. 
Kesi  liwamani 

Hliton  iyane  ! 

Kesi  liwamani 

Hlapi  hanan  iyane ! 

Letekwan  atowa 
Awuwakia  litla. 

Hi  yai — elu  ! 


1 


CORN-GRINDING  SONG 

Yonder,  yonder  see  the  fair  rainbow. 
See  the  rainbow  brightly  decked  and 
painted  ! 

Now  the  swallow  bringeth  glad  news  to 
your  corn, 

Singing,  “  Hitherward,  hitherward,  hither¬ 
ward,  rain, 

“  Hither  come  !” 

Singing,  **  Hitherward,  hitherward,  hither¬ 
ward,  white  cloud, 

“  Hither  come  l” 

Now  hear  the  corn-plants  murmur, 
u  We  are  growing  everywhere  !” 

Hi,  yai!  The  world,  how  fair  ! 

31] 


THE  INDIANS'  BOOK 


♦ 


SHOKO  QTXXKWE 


SHOKO  OTIIKWE 


CORN-DANCE  SONG 


Chuap-tono, 

Chuap-tono, 

Keia  ite  tsina-u  ? 
Amit  ola-Tsa  waki . 
Ma  honkwa  hito: 
Lonawe, 

Hlitowe, 

Uletchi 
Ite  tsina-u  ! 


Who,  ah  know  ye  who — 

Who,  ah  know  ye  who — 

Who  was’t  that  made  a  picture  the  first 
'Twas  the  bright  Rainbow  Youth, 
Rainbow  Youth — 

Ay,  behold,  ’twas  even  thus — 

Clouds  came, 

And  rain  came 
Close  following — 

Rainbow  then  colored  all  ! 


THLAH  HEWE 


Song  of  the  Blue-Corn  Dance 


(Old  Chief's  Song) 


THLAH  HEWE 


SONG  OF  THE  BLUE-CORN  DANCE 


Hi — ah-hai,  elu  ! 

Shi — elu  ! 
Lowi-yuteapa, 
Mateona  kesi, 
Lowi-yuteapa 
Awiyane 
Litla 


Beautiful,  lo,  the  summer  clouds. 
Beautiful,  lo,  the  summer  clouds ! 
Blossoming  clouds  in  the  sky. 
Like  unto  shimmering  flowers. 
Blossoming  clouds  in  the  sky. 
Onward,  lo,  they  come, 

Hither,  hither  bound  ! 


A  Zuni  Maiden 


-  O  v.  €a.  —  tOCL  <X  a  -  7U  -  <  ^-4U.  -  To  —  C 

t&uy  d<c3,  L  ttc  <Oo^,  L  (t** 


MU  I  J 


J-  -O^rt  -  •  -»* «-  > 

C$i  -  ^ dL\.  . .  .  / 


4'-  J  J  u  J' 


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SAN  JUAN  AND  ACOMA  TITLE-PAGE 

The  designs  represent  masks  worn  by  the  Pueblo  Indians  in 
ceremonial  costume.  Upon  the  masks  are  painted  symbols  of 
cloud,  sun,  lightning,  rainbow,  and  rain.  These  drawings  are 
by  a  Laguna  Indian,  Idima  (John  Com),  of  the  Com  clan. 

The  lettering  is  by  Hinook  Mahrwi  Kilinaka  (Angel  De  Cora). 


SAN  JUAN 


AN  JUAN  is  one  of  the  largest  of  the  upper  Rio  Grande 
pueblos,  inhabited  by  people  of  Tanoan  stock.  The 
village  was  dedicated  by  the  Spanish  conquerors  to  St. 
John.1 


ACOMA 

Yaka-Hano  Gatzina  Yoni 
(Corn-People  Gatzina  Songs) 

HREE  dance -songs  from  the  pueblo  of  Acoma,  New 
Mexico,  have  been  contributed  to  The  Indians'  Book  by 
an  Acoma  Indian.  They  are  songs  of  the  Yaka-Hano 
Gatzina,  or  Corn-People  Gatzina.  The  Gatzinas 


are 

mythological  beings  who  are  impersonated  in  the  ceremonials  by 
dancers  wearing  masks  deco¬ 
rated  with  emblems  of  clouds, 
lightning,  rainbow,  and  with 
other  symbols.  The  word  Gat- 
zina  corresponds  to  the  Hopi 
word  Katzina ,2  only  that  with 
the  Acomas  the  accent  is  placed 
on  the  first  syllable,  with  the 
Hopis,  on  the  second. 

The  three  Acoma  songs  in 

this  book  are  sung  on  vocables  and  contain  only  two  words,  pro¬ 
longed  in  singing — “shiwana”  (cloud),  and  ** hawilana  ”  (growing 
corn).  These  songs  are  sung  in  Acoma,  Laguna,  Zuni,  and  possibly 
in  other  villages. 

1  For  San  Joan  song,  see  page  449.  2  See  Hopi  “  Katzinas,”  page  482. 

[447] 


LAGUNA  TITLE-PAGE 

The  design  represents  a  symbolic  beast  sue.  as  is  painted  on 
the  wall  of  the  pueblo  estufa  (ceremonial  council  chamber). 
The  drawing  is  by  a  Laguna  Indian,  Idima  (John  Corn),  of  the 
Corn  clan. 

The  lettering  is  by  Hinook  Mahiwi  Kilinaka  (Angel  De  Cora). 


fe-  ' 


■ 


3  •'  '• '  m 


 -  .  .  

no  WniJiq  «  se  ouz  tz&sd  ailodntya  s  aJRKmqst  RgM)  sdT 

.(tsdsrxsib  lkxiMOO  feinortmsa)  shriv*  oidswq  adi  lo 

arid  lo  ,(n  uD  nrioT.)  tmihl  ,n£ibn  siMjgjs. '  &  ydi  ;i  gniwitL  sal 

.xjbIo  moD 

.(snoO  sQ  iagnA)  sMailiX  h/ideM  iooniH  yd  ai  sni-jsiisi  sHT 


LAGUNA 


AGUNA  is  one  of  the  largest  pueblos  in  New  Mexico. 
Tfie  houses,  like  nearly  all  pueblo  dwellings,  are  of  two 
or  more  stories  set  back  one  above  another  in  terrace 
form,  so  that  the  roof  of  the  first  story  is  at  the  same 
time  the  balcony  of  the  second.  On  balcony  and  house-top  the 
Pueblo  Indian  lives  almost  as  much  as  within  doors.  Floating 
from  the  upper  story  of  some  whitewashed  house  may  be  often 
heard  the  song  of  the  corn-grinder  quavering  in  sweet,  unusual 
melody  to  the  rhythm  of  the  stones. 

The  grinding-songs  here  offered  are  very  old,  and  most  of  the 
words  are  archaic.  The  first  song  tells  of  “wonder-water,”  the 
welcome  rain-water  caught,  after  showers,  by  the  hollows  in  the 
rocks  so  common  in  this  country  of  strange  erosion.  The  Laguna 
Indians  thus  explain  these  songs:  “After  rain,  the  water  stands 
in  hollows  in  the  rocks.  It  is  good,  fresh  water— medicine-water. 
It  brings  new  life  to  him  who  drinks.  In  the  song  we  say:  *  Look 
to  the  southwest,  look  to  the  southeast!  The  clouds  are  coming 
towards  the  spring?  the  clouds  will  bring  the  water !'  It  is  from  the 
southwest  and  the  southeast  that  we  usually  get  our  rains.  The 
other  song  is  about  the  butterflies,  blue  and  red  and  yellow  and 
white.  We  tell  them  to  fly  to  the  blossoms.  At  the  end  of  the 
song  we  say,  ‘Go,  butterfly,  now  go,  for  that  is  all!'” 

The  songs  were  sung  by  many  Indians,  among  them  an  aged 
woman  of  authority  well  versed  in  the  lore  of  her  people. 

NOTE  FOR  PRONUNCIATION  OF  LAGUNA  TEXT 

Unless  otherwise  indicated,  vowels  have  the  Continental  sound,  and  consonants 
the  English. 


THE  INDIANS'  BOOK 


AIYA-GAITANI  YONI 

Corn-Grinding  Song 


I 

AIYA-GAlTANI  YONI 

CORN-GRINDING  SONG 

I-o-ho,  waitilann i, 

I-o-hof  waitilanni, 

Tzi  washo  iyani-i  ! 

Yuweh  puniakoekolika, 
Yuweh  haniakoekolika, 

Tzi  washo  iyani-i  ! 

I-o-ho,  waitilanni, 

I-o-hot  waitilanni, 

Tzi  washo  iyani-i  ! 

X-o-hot  wonder-water, 

I-o-ho,  wonder-water, 

Life  anew  to  him  who  drinks  ! 

Look  where  southwest  clouds  are  bringing 
rain; 

Look  where  southeast  clouds  are  bringing 
rain  ! 

Life  anew  to  him  who  drinks  ! 

I-o-ho,  wonder-water, 

✓ 

I-o-ho,  wonder-water. 

Life  anew  to  him  who  drinks  ! 

II 

AIYA-GAITANI  YONI 

CORN-GRINDING  SONG 

Polaina,  polaina, 

Hai-ke-o-tzi-o-no-ho, 

Kohochinishi, 

Koeshkasi, 

Hai-ke-o-tzi-o-no-ho, 

Kukanishi, 

Kasheshi, 

Hai-ke-o-tzi-o-no-ho, 
Ha-na-pu-ra-ni  ! 

Polaina,  polaina, 
Hai-ke-o-tzi-o-no-ho, 
Ha-na-pu-ra-ni  ! 

Butterflies,  butterflies. 

Now  fly  away  to  the  blossoms, 

Fly,  blue-wing. 

Fly,  yellow-wing. 

Now  fly  away  to  the  blossoms. 

Fly,  red-wing, 

Fly,  white-wing, 

Now  fly  away  to  the  blossoms, 
Butterflies,  away  ! 

Butterflies,  butterflies. 

Now  fly  away  to  the  blossoms, 
Butterflies,  away  ! 

LAGUNA 


TUARFS  SONG 

UARI  (Young  Eagle)  is  at  work  far  from  his  native  vil¬ 
lage.  When  asked  for  a  song,  he  said,  “I  will  sing  you 
my  own  song  that  I  sing  to  my  wife.” 

“But  how  can  you  sing  to  her  when  she  is  at  home 
in  Laguna  and  you  are  here  ?” 

The  Pueblo  youth  stared  at  the  question,  then  answered,  quietly, 
“I  sing  to  her  though  I  am  far  away,  and  she,  too,  sings  to  me. 
The  meaning  of  my  song  is  this:  T  am  here,  working  for  you.  All 
the  while  I  work  I  think  of  you.  Take  care  of  yourself,  and  take 
care  of  the  horses,  and  the  sheep  and  the  fields/  ” 

“But  your  song  has  no  words!” 

“No,  but  that  is  what  it  means.  So  when  I  am  far  away  we 
sing  to  each  other,  my  wife  and  I.”1 

In  the  composers  mind  the  song  is  accompanied  by  the  drum, 
and  can  be  used  as  a  dance-song  for  a  dance  of  young  men  in  the 
spring-time. 


See  footnote,  page  102. 


HOPI  TITLE-PAGE 

The  round  design  in  the  centre  of  the  page  represents  a  pottery 
plaque,  on  which  is  painted  a  butterfly.  This  drawing  is  by 
Gashhoienim,  a  Hop!  Indian  girl. 

The  lettering  and  decorations  are  by  Hinook  Mahiwi  Kilinaka 
(Angel  De  Cora).  The  decorations  at  the  top  and  bottom  of 
the  page  show  the  head  and  the  antennae  of  the  butterfly;  the 
letters  are  formed  of  the  butterfly's  body. 


' 

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f  J  *  1 

30Aq-3JTIT 

I30H 

ytaJioq  x,  Kta&a'tqsn  3S*q  s*dJ  lo  ;  -..tnso  s di  m  ngissb  bnvot  sdT 
yd  ei  sliiwfiifc  aidT  .ylhsitud  r.  bsinisq  si  doiriw  no  ,swpatq 

•hig  fuiVb.nl  iqoH  jk  ,min3todds£0 
j  £2£niii2  iwidfiM  doomH  yd  sie  snoiix/toosb  bne  ^nhsitsl  sdi 
io  mottob  hv>i  qoi  srii  is  snoitBiOOsb  sdT  .( r.ioO  sCI  IsgnA) 
sdi  syliwituc  odj  io  asnnsin*  sdt  bn*  bsad  woris  sgaq  sdf 
•yfcoci  a'ylho-tivd  ■.■  i  io  bsnrioi  air,  erattsl 


THE  HOPIS 1 


N  northeastern  Arizona,  high  on  the  summit  of  sheer 
cliffs,  overlooking  wide  stretches  of  desert,  and  desert 
only,  stand  the  seven  villages  of  the  Hopi  Indians,  the 
“People  of  Peace,”  Centuries  ago,  the  gentle  Hopis 
fled  to  the  craggy  heights  to  escape  the  ravages  of  wilder  tribes. 
Here  might  the  Hopi  live  at  peace,  creeping  at  dawn  down  the 
precipitous  rock-hewn  trail  to  labor  in  his  field,  and  climbing  up 
again  at  eventide.  His  village  was  his  fortress,  inaccessible  and 
remote.  Though  some  of  the  villages  had  been  discovered  by  the 
Spaniards,  yet  since  the  Pueblo  insurrection  of  1680  the  Hopis  have 
had  little  contact  with  white  men  until  quite  recently.  They  are 
still  a  conservative  folk,  who,  ever  industrious  and  self-supporting, 
cling  to  their  traditions  and  customs  with  dignity  and  reserve. 

Song  is  the  spontaneous  expression  of  the  people.  It  may  be 
heard  at  all  hours  rising  from  the  Hopi  village  or  from  the  surround¬ 
ing  desert  plains  and  cliffs.  The  shepherd  driving  his  flock  down 
the  steep,  rocky  trail;  the  planter  seeking  his  field  at  dawn;  the 
woman  at  her  task;  the  child  at  his  play,  all  sing  as  naturally  as  the 
bird  on  the  bough.  Besides  old  traditional  songs,  the  Hopis  have 

NOTE  FOR  PRONUNCIATION  OF  HOPI  TEXT 

While  in  many  Indian  languages  there  are  sounds  not  exactly  the  same  as  the 
corresponding  ones  of  European  tongues,  in  the  Hopi  occur  sounds  that  have  no 
counterpart  at  all  in  European  languages.  Such  sounds,  therefore,  can  be  ex¬ 
pressed  by  the  Roman  alphabet  approximately  only. 

Unless  otherwise  indicated,  vowels  have  the  Continental  sound,  and  consonants 
the  English. 

q  has  a  guttural  sound, 
o  is  pronounced  as  in  German. 
u  has  the  sound  of  u  in  curd. 

1  Commonly  called  “  Mokis  ”  or  “  Moqtiis.” 
f  473  1 


THE  INDIANS’  BOOK 


countless  songs  of  the  moment,  which  are  composed  and  sung  for  a 
few  years  and  then  forgotten. 

To  seize  on  paper  the  spirit  of  Hopi  music  is  a  task  as  impossible 
as  to  put  on  canvas  the  shimmer  and  glare  of  the  desert.  Hopi 
music  is  born  of  its  environment.  The  wind  sweeping  among  the 
crags  and  whirling  down  the  trail  has  carved  its  strange  melody 
upon  the  Indian’s  plastic  mind,  even  as  it  has  carved  upon  the 
rocks,  in  curious  erosion,  the  record  of  its  presence.  Its  echo  is 
heard  in  the  song  of  the  Hopi,  yodelling  through  the  desert  solitudes. 
There,  in  that  wide  land,  under  the  blaze  of  the  Arizona  sun,  amid 
the  shifting  color  of  the  tinted  sands  and  the  purple-blue  of  the  sharp- 
shadowed  rocks  must  the  songs  be  heard  to  be  heard  truly. 

Nearly  sixty  Hopi  songs  have  been  recorded,  but  because  of 
their  length  and  difficulty  there  is  not  here  place  for  more  than  a 
few.  These  few  have  been  chosen  less  for  their  quality  than  for 
the  association  with  their  composers,  the  song-poets  of  the  cliff- 
perched  Hopi  pueblos. 


THE  SONG  OF  THE  HOPI  CHIEF 

OLOLOMAI,  chief  of  the  Hopi  village  of  Oraibi,  was 
well  named  Lololomai  (Very -Good),  for  he  had  ever 
been  the  watchful  father  of  his  people.  Eighty  summers 
had  shone  upon  him,  yet  he  bore  himself  with  the  dignity 
of  chieftaincy.  Unlike  many  Hopis,  he  had  travelled  far  and  had 
been  to  see  the  great  chief  in  Washington,  in  the  land  where  **  there 
were  many  clouds  and  the  sun  looked  like  the  moon.” 

To  The  Indians’  Book  is  here  given  the  account  of  the  white 
friend’s  talk  with  Lololomai,  word  for  word,  as  written  shortly  after 
the  visit: 

I  sought  Lololomai  to  tell  him  of  my  purpose  with  the  Hopi 
songs.  My  interpreter  was  a  Hopi  lad,  who,  though  blind,  led  with 
sure  foot  the  way  up  the  steep,  rocky  trail  to  the  village.  The 
chief  was  seated  on  his  house-top,  spinning,  for  in  Hopi-land  it  is 
the  men  who  spin  and  weave.  He  rose  and  met  us  at  the  head 

of  the  ladder  that  led  to  where  he  sat. 

[474] 


An  Evening  Reverit,  on  the  House-tops 


HOPI 


“  I  have  come  to  talk  with  you,  friend,  on  something  that  con¬ 
cerns  your  people,”  I  said. 

“Ancha-a  ('Tis  well),”  he  answered,  solemnly,  and  motioned 
me  to  sit  down  with  him. 

“  Lololomai,”  I  said,  “the  Hopi  children  are  going  to  school; 
they  are  learning  new  ways  and  are  singing  new  songs — American 
songs  instead  of  Hopi.  Some  of  the  children  are  very  young — 
so  young  that  there  have  been,  perhaps,  but  three  corn-plantings 
since  they  came  into  the  world.  These  little  ones  will  never  sing 
the  songs  of  their  fathers.  They  will  not  sing  of  the  com,  the  bean- 
blossoms,  and  the  butterflies.  They  will  know  only  American  songs. 
Hopi  songs  are  beautiful;  it  is  sad  that  they  should  be  forgotten.” 

To  all  of  this  the  old  chief  said,  “  Hao,  hao  (Even  so,  even  so),” 
and  nodded  slowly. 

“  But,”  I  continued,  “  there  is  one  thing  in  the  school  good  for 
all  to  have  and  to  know,  and  that  is  books ♦  Books  can  be  of  many 
kinds,  Hopi  as  well  as  English.  As  yet  your  people  have  no  books 
nor  do  they  read  or  write.  That  is  why  your  songs  will  be  for¬ 
gotten,  why  even  your  language  may  some  day  pass  away. 

“When  you  sing,  your  song  is  heard,  then  dies  like  the  wind 
that  sweeps  the  cornfields  and  is  gone,  none  knows  whither.  But 
if  you  could  write,  you  could  put  your  song  into  a  book,  and  your 
people,  even  to  the  children  of  their  children,  could  know  your 
song  as  if  you  yourself  were  singing.  They  could  look  upon  the 
written  page  and  say:  *  Thus  sang  Lololomai,  our  chief,  in  the  long 
ago.  Thus  sings  Lololomai  to-day/  ” 

The  head  drooped  lower  and  the  aged  face  was  grave. 

“  But  until  the  time  shall  come,”  I  said,  “  when  the  Hopis  shall 
themselves  record  their  stories  and  their  songs,  some  one  must  do 
this  for  them,  else  much  will  be  lost — lost  forever,  like  a  wind¬ 
blown  trail.  So  I  have  come  from  my  far-distant  home  by  the 
'great  waters'  in  the  East  to  write  the  Hopi  songs.” 

There  was  a  pause.  Then  the  old  chief  turned  to  me  pathetically. 
There  was  a  wistful  yearning  in  the  aged  eyes,  a  cloud  of  trouble 
on  the  wrinkled  brow. 

“  It  is  well,”  he  said,  “  but  will  not  the  superintendent  be  angry 

if  you  do  this  thing?  Are  you  sure  that  you  will  not  bring  trouble 
30  [475] 


THE  INDIANS’  BOOK 


upon  us?  White  people  try  to  stop  our  songs  and  dances,  so  I 
am  fearful  of  your  talk.” 

“  Be  at  rest,  my  friend,”  I  said,  “  the  great  chief  at  Washington1 
is  father  of  all  the  people  in  this  country,  as  you  are  father  of  all 
in  this  village.  He  has  given  his  permission  for  the  writing  of  the 
Hopi  songs.  He  is  glad  to  have  them  written,  for  he,  too,  knows 
that  Hopi  songs  are  beautiful.” 

“  Then  it  is  well,”  replied  Lololomai — -“  then  it  is  well,  indeed. 
But  will  you,  friend,  explain  to  me  that  which  I  cannot  understand? 
Why  do  the  white  people  want  to  stop  our  dances  and  our  songs? 
Why  do  they  trouble  us?  Why  do  they  interfere  with  what  can 
harm  them  not?  What  ill  do  we  to  any  white  man  when  we 
dance?” 

“  Lololomai,  white  men  do  not  understand  your  dances  or  your 
songs.  They  do  not  even  know  one  word  of  your  language.  When 
I  have  written  your  songs,  I  will  write  English  words  as  well  as 
Hopi,  that  white  men  may  know  of  what  you  sing.  When  they 
understand,  they  will  perhaps  no  longer  want  to  stop  your  dances 
and  your  songs.  To  you,  Lololomai,  the  Hopi  chief,  will  I  give 
the  Hopi  songs  when  they  are  written.  You  will  keep  them  for 
your  people  with  the  other  sacred  things  that  are  your  trust.  Then 
in  the  days  to  come  the  younger  Hopis  will  read,  and  so  the  songs 
never  will  be  forgotten.” 

Lololomai  bowed  his  head.  “  Lolomai,”  he  said,  “  pas  lolomai 
(good,  very  good).” 

“And  now  will  you  sing  one  of  your  own  songs,  that  I  may  write 
it  ?”  I  asked.  “  Sing  a  song  of  your  own  making,  for  Lololomafs 
song  should  be  the  first.” 

The  chief  rested  his  chin  on  his  hand  and  gazed  before  him  over 
the  desert  in  deep  thought.  “I  am  old,”  he  said,  “and  I  have 
made  many  songs  and  have  forgotten  many  songs.  It  is  as  you 
say,  the  songs  I  made  when  I  was  young  I  remember  now  no  longer. 
I  will  sing  the  last  song  that  I  made.” 

He  rose  and  beckoned  me  to  another  sunny  corner  on  the  house¬ 
top,  spreading  a  blanket  for  a  seat. 


President  Theodore  Roosevelt,  who,  from  the  first,  took  great  interest  in  the  work. 

r  476  ] 


HOPI 


**  This  song/'  Lololomai  explained,  **  was  sung  during  our  cere¬ 
mony  of  thank-offering  after  the  com  was  garnered  for  the  year.1 
The  men  go  from  one  kiva2  to  another,  all  night  long,  dancing  and 
singing.  This  is  the  song  of  the  men  from  my  kiva,  the  chief  kiva. 

It  tells  how  in  my  kiva  the  chief  and  his  men  are  praying  to  make 
the  corn  to  grow  next  year  for  all  the  people.  That  is  the  meaning  . 
of  my  song." 

Then  in  rhythmic  monotone  the  old  man  crooned  beside  me. 
Long  and  diligently  I  worked  at  the  recording,  with  the  glare  of 
the  hot  sun  on  my  paper.  It  was  no  light  task  to  fix  the  chant  in 
musical  notation. 

I  saw  this  question  in  the  chief's  eyes:  “  I  have  sung  the  song; 
why  does  it  take  so  long  to  make  those  black  marks  on  the  paper?" 
And  I  said,  **  Lololomai,  you  know  that  when  the  Hopi  sets  a  trap 
for  .the  blackbird,  sometimes  it  is  long  before  he  can  catch  his 
fluttering  prey.  Your  song  is  a  wild  blackbird  to  me,  and  it 
may  be  that  the  sun  will  move  far  along  the  sky  before  I  have 
captured  it." 

When  I  had  finished,  I  showed  Lololomai  the  written  page. 
The  old  man  scanned  the  mysterious  tracings,  and,  nodding  slowly, 
repeated  again  and  again,  **  Ancha-a,  ikwatchi,  ancha-a  (It  is  well, 
my  friend,  it  is  well)."  Then  drawing  his  blanket  around  him, 
Lololomai  stepped  to  the  edge  of  the  roof,  and,  facing  the  sun,  sank 
upon  his  knees  with  head  bowed  in  his  hands.  What  his  act  meant 
I  knew  not,  for  I  had  heard  that  Hopis  stood  erect  to  pray.  But 
the  swift  instinct  of  sympathy  said — the  aged  father  of  the  village 
thus  consecrates  the  new  task  for  the  Hopis. 

The  shadows  on  the  village  street  grew  long.  The  sun  was  sink¬ 
ing.  Here  and  there  a  lone  Hopi  was  returning  from  below  with 
laden  burro.  Soon  the  trail  would  be  dotted  with  home-coming 
Indians.  We  sat  long  in  silence,  Lololomai,  the  blind  boy,  and  I. 

I  watched  the  glow  enfold  the  desert  with  the  mystery  of  dying 

1  This  ceremony  is  called  Wifwuchtm-yungya. 

2  The  kiva  is  an  underground  council-chamber.  There  are  many  kivas,.  probably  one  for 
each  clan,  originally.  Here  the  men  come  to  meet  in  council  or  to  spin  and  weave.  Here  also 
the  new  songs  are  learned  and  dances  practised.  But  the  most  important  use  of  the  kiva  is  as 
a  sacred  chamber  where  altars  are  placed  and  secret  ceremonial  rites  performed. 

[4771 


THE  INDIANS’  BOOK 


day.  The  chief’s  song  was  that  song  when  the  com  was  garnered. 
And  I — with  book  and  pencil  I  was  gleaning  in  the  Hopi  fields  in 
this  the  sunset  hour  of  the  people’s  native  life.  The  time  is  short 
before  night  shall  fall  forever  on  the  spirit  of  spontaneous  song 
within  the  Indian. 

Silent  still,  the  blind  boy  and  I  took  our  downward  way  upon 
the  rocky  trail.  To  my  companion,  in  his  night,  the  deepening 
shadow  bore  no  import,  but  a  twilight  sadness  lay  upon  my  spirit. 
I  thought  of  the  garnered  Hopi  corn.  Will  there  be  many  more 
plantings  of  poetry  and  harvestings  of  song?  Darkness  closed  in. 
But  off  beyond  in  silver  glory  rose  the  moon. 

To  Lololomai  had  been  promised  the  songs  of  his  people.  But 
before  the  pledge  could  be  fulfilled  the  old  chief  followed  the  western 
sun.  The  silent  desert  never  again  will  waken  to  his  voice.  But 
for  Hopis  yet  unborn  The  Indians’  Book  holds  the  song  of  the  long¬ 
loved  chieftain  of  Oraibi. 

Note. — Grateful  acknowledgment  is  due  to  the  Hopi  authority.  Rev.  H.  R.  Voth, 
of  the  Field  Columbian  Museum,  Chicago,  for  assistance  in  the  English  rendering 
of  Lololomai's  song,  and  for  explanation  of  its  contents.  The  whole  collection 
of  Hopi  text  has  received  Mr.  Voth's  expert  criticism.  The  spelling,  however,  is 
not  Mr.  Voth's,  but  one  conforming  to  the  general  system  adopted  in  this  book 
for  the  spelling  of  Indian  words.  Also,  since  Hopi  songs  are  capable  of  many  dif¬ 
ferent  interpretations,  the  recorder  has  felt  obliged  to  hold  to  versions  acquired 
through  her  own  research  among  the  Indians,  even  where  such  versions  are  more 
or  less  at  variance  with  those  kindly  given  by  Mr.  Voth.  Mr.  Voth,  therefore, 
is  not  responsible  for  possible  errors  in  the  translations. 


HOPI 


W£/W£/CHIM  TAWI 


Wowuchim-Chani 


Composed  and  sung  by  Lololomai 

N  the  kiva  of  the  chieftain  is  performed  a  ceremonial, 
symbolic  corn-planting.  The  idea  in  this  song  seems  to 
be  that  a  ceremonial  planting  of  a  perfect  corn -ear — 
that  is,  one  completely  filled  with  kernels — will  procure 
even  such  perfect  corn-ears  in  the  crop  of  the  next  season.  Muyingwa 
is  the  god  of  germination  and  growth.  He  lives  underground  be¬ 
neath  the  kivas.  In  *  this  song  he  would  seem  to  be  beneath  the 
kiva  of  the  chief. 

The  Hopi  word  translated  as  “double  corn-ear”  means  a  corn- 
ear  more  or  less  cleft.  By  “  rain  that  stands  ”  the  Hopis  mean  rain 
seen  to  fall  from  a  distant  cloud,  giving  an  appearance  of  upright 
lines. 

The  Hopis  have  different  words  for  the  different  kinds  of  cloud. 
The  heyapo  cloud,  translated  here  as  “cloud  that  rushes,”  is  the 
fast-driven  scud  that  underlies  heavy  masses  of  rain-cloud. 

WJ7WJ/CHIM  TAWI  Wt/WC/CHIM-CHANT 


Yan  itam,  yan  itam 
Tokilnawita 
Hahlai  unangway 
Na'kalmumuya. 


Thus  we,  thus  we. 

The  night  along. 

With  happy  hearts 
Wish  well  one  another. 


Natwanlawu  inamu 
Ayam  Muyingwa 
Mongwi  kive 
Mokwa  kao 
Chochmingwun ; 
Natwantaqo  pom  nikiang 
Bavas  nawita  sitalwunguni. 


In  the  chief's  kiva 
They,  the  fathers. 

They  and  Muyingwa 
Plant  the  double  ear — 

Plant  the  perfect  double  corn-ear. 

So  the  fields  shall  shine 

With  tassels  white  of  perfect  corn-ears. 


Peyo  amami  namusha,  Hither  to  them,  hither  come, 

Yoyowunuto  heyapo  o-omawat« !  Rain  that  stands  and  cloud  that  rushes  ! 


THE  INDIANS'  BOOK 


PUWUCH.  TAWI 


Lullaby 


HIS  lullaby  is  one  of  the  oldest  Hopi  songs.  It  is  sung 
in  many  of  the  Hopi  villages,  and  there  is  perhaps  scarcely 
a  Hopi  who  has  not  been  lulled  to  sleep  with  its  refrain 
— “puva,  puva!  (sleep,  sleep!)” 

The  mother  binds  her  baby  on  a  board  to  sleep.  Then  she 
fastens  board  and  baby  on  her  back,  and,  swaying  to  and  fro,  be¬ 
comes  herself  a  living  cradle,  gently  rocking  to  sleep  the  little  one. 
As  she  rocks,  she  sings  this  ancient  crooning  lullaby. 

The  song  tells  of  the  beetles  asleep  on  the  trail.  In  Hopi-land, 
the  beetles  carry  one  another  on  their  backs  in  the  hot  sun.  The 
Hopis  say,  “The  beetles  are  blind;  the  beetles  are  sleeping.”  So 
the  child  upon  its  mother's  back  must  close  its  eyes,  and,  like  the 
beetle,  see  no  more. 


PUWUCH  TAWI 


LULLABY 


Puva,  puva,  puva. 
Hohoyawa 
Shahpo  pave-e 
Na-ikwiokiango, 
Puva,  puva,  puva  ! 


Puva,  puva,  puva / 

In  the  trail  the  beetles 
On  each  other’s  backs  are  sleeping, 
So  on  mine,  my  baby,  thou 
Puva,  puva,  puva  ! 


POLI  TIWA  TAWT 

Butterfly-Dance  Song 


Composed  and  sung  by  Tawakwaptiwa 


o 


F  all  the  Hopi  poets,  none  sings  a  gladder  song  than  Ta¬ 
wakwaptiwa  (Sun-Down-Shining).* 1 2  He  is  one  in  whom 
the  gift  of  song  wells  up  like  living  waters,  a  Hopi  un¬ 

touched  by  foreign  influence,  the  child  of  natural  environ¬ 


ment,  spontaneous,  alert,  full  of  life  and  laughter. 


1  Puva,  sleep. 

2  Like  many  Hopi  names,  this  one  is  almost  impossible  of  literal  translation.  Sun-Down- 
Shining  is  the  general  meaning  of  the  name,  as  given  by  the  Indians. 

[480] 


The  Song  of  Tawakwaptiwa 


HOPI 


“He  makes  good  songs,”  say  the  Hopis.  “Everybody  likes 
T  awakwaptiwa.” 

The  poet’s  answer  to  the  question,  “How  do  you  make  your 
songs?”  was  like  the  answer  made  by  many  a  Hopi  singer:  “When 
I  am  herding  my  sheep,  or  away  in  the  fields,  and  I  see  something 
that  I  like— then  I  sing  about  it.” 

“This  song,”  Tawakwaptiwa  explained,  “is  sung  in  the  Butter¬ 
fly-Dance.  It  tells  how  the  youths  and  maidens  are  playing  in 
the  fields.” 

“Yes,”  upspoke  a  second  Hopi,  “when  the  com  and  melons  are 
ripe,  the  youths  in  the  field  hold  high  the  fairest  fruit  and  summon 
the  maidens  with  a  call.  Then  the  butterfly-girls  come  running, 
and  try  to  wrest  the  prize.” 

“The  4  butterfly-girls  ’  ?” 

“Yes,”  answered  Tawakwaptiwa,  “so  we  call  the  Hopi  girls, 
because  their  hair  makes  them  to  look  like  butterflies.”1 

Then  the  poet  threw  his  blanket  over  his  shoulder,  and,  stretch¬ 
ing  his  hand  before  him,  with  quick  commanding  gesture  he  sang 
the  second  stanza  of  his  song,  the  summons  to  the  thunder. 

“So  the  thunder  will  come,”  he  explained,  “so  the  rain  will 
come,  that  the  corn-maidens  may  grow  high.” 

“The  *  corn-maidens  ’  ?” 

“Yes,  the  little  young  com-plants  are  corn-maidens.” 

“When  the  corn  is  no  longer  little,  but  grown,”  said  the  second 
Hopi,  “then  come  the  com-ears,  and  these  are  the  children  of  the 
com.  We  call  the  corn  *  mother.’  It  nourishes  us,  it  gives  us  life, 
— is  it  not  our  mother?  Tawakwaptiwa’s  song  tells  how  we  want 
the  rain,  that  the  little  corn-plant  maidens  may  help  one  another 
to  grow  tall.” 

“How  do  they  help  one  another?” 

“Oh,  by  gathering  the  moisture  under  the  ground  with  their 
little  roots.” 

The  Poli  Tuva  (Butterfly  -  Dance)  is  a  dance  of  youths  and 
maidens.  The  leaders  plan  the  changing  figures  and  drill  the 


1  The  Hopi  maidens  wear  their  hair  in  glistening  wheels  at  each  side  of  the  head, 
dress  really  represents  the  squash-blossom,  emblem  of  virginity. 

[481] 


The  head- 


THE  INDIANS’  BOOK 


dancers  in  the  preparation  that  for  several  days  precedes  the  per¬ 
formance.  The  dance  begins  at  noon  and  lasts  until  sundown, 
many  figures  being  performed  with  intermissions  for  rest  and  change 
of  costume.  The  dance  is  held  in  the  open  plaza  of  the  village, 
and  the  on-lookers  usually  mount  the  house-tops  for  their  view.  The 
unaccustomed  eye  quivers  and  falls  beneath  the  mid-day  glare  and 
the  glinting  color  of  the  scene;  for  many  of  the  spectators  are  brightly 
clad  and  the  dancers  are  elaborately  decked.  The  maidens  wear 
wooden  tablets  on  the  head,  symbolic  of  clouds.  They  carry  little 
sprigs  and  decorously  dance  with  downcast  eyes  and  scarcely 
moving  feet*  The  youths  shake  rattles  and  lift  high  the  knee  with 
springing  step.  Silently  the  dancers  move,  while  a  chorus  sings  the 
dance-music  and  sounds  a  drum  whose  steady  rhythm  is  like  the 
pulse-beat  of  the  quivering  hot  air. 


POLI  TIWA  TAWI 


BUTTERFLY-DANCE  SONG 


Humicita  cingolawu,  Now  for  corn-blooms  we  wrestle, 

Mozhicita  cingolawu.  Now  for  bean-blooms  we  wrestle. 


Itam  totim  nikiang 
Uyi  shonaka  ngoti-timani 
Tuvevol  manatu  amumi. 


We  are  youths,  ’mid  the  corn, 
Chasing  each  other  in  sport. 
Playing  with  butterfly-maidens. 


Peyo,  peyo  ! 
t/mamutani 
Ita  ayatani, 

Uyi  manatu 
Omi  nawungwinani. 


Hither,  hither  ! 

Thunder  will  hither  move, 

We  shall  summon  the  thunder  here. 

That  the  maiden-plants 

Upward  may  help  one  another  to  grow. 


KATZINAS 

HE  Hopi  “  Katzinas  ”  are  intermediary  deities  who  bring 
to  the  gods  the  Hopis’  prayers. 

Long  ago  the  Katzinas  lived  upon  the  earth  and  danced 
in  the  plazas  of  the  villages  and  brought  the  rain.  But 
now  they  come  no  more,  and  so  to  bring  the  rain  the  Hopis  them¬ 
selves  impersonate  the  Katzinas.  They  dress  like  them,  wear 

masks  to  represent  the  faces,  and  dance  and  sing  for  rain  even  as  the 

1482] 


JUKQ 


HOPI 


Katzinas  did  of  old.  There  are  many  kinds  of  Katzinas,  and  the 
Katzina  dance-songs  are  innumerable.  The  wooden  masks  are 
painted  with  symbols  full  of  meaning,  and  the  border  of  the  woven 
sash  worn  by  the  Katzina  dancer  tells  of  the  earth  in  blossom 
with  the  rain-clouds  sending  water  upon  it. 


ANGA  KATZINA  TAWX 

Anga  Katzina  Song 
Composed  and  sung  by  Lahpu 

AHPU  is  brother  of  T awakwaptiwa,  and  both  men  are 
nephews  of  the  chief  Lololomai.  The  blood  of  aris¬ 
tocracy  is  in  their  veins,  for  they  belong  to  the  oldest 
clan  in  Oraibi. 

Said  Lahpu  of  his  song:  “  This  is  the  first  song  that  I  ever  made. 
I  had  been  a  long  time  away,  and  so  my  heart  was  happy  as  I  came 
through  the  fields.  I  saw  the  Hopi  girls  playing  among  the  corn- 
plants,  chasing  one  another  and  laughing  and  singing,  and — I  liked 
it;  it  was  pretty,  and  I  was  happy,  so  I  made  this  song  about  it.” 


ANGA  KATZINA  TAWI 


ANGA  KATZINA  SONG 


Z7yi  shonaka  yoki; 

Tuvevoli  manatu 
Nanguyimani  yoyang. 

Yala  puma  tahinpa  natayawina 
Yang  t/yi  shonaka  ! 

A-ha,  ha-ha, 

O-ah,  e-Io  ! 

Yani  puma  tuwati 
T ataw-y ayawina  yanga 
O-o,  o-ho, 

O-he,  e-lo  ! 


Rain  all  over  the  cornfields. 

Pretty  butterfly-maidens 
Chasing  one  another  when  the  rain  is  done. 
Hither,  thither,  so. 

How  they  frolic  'mid  the  corn. 
Laughing,  laughing,  thus: 

A-ha,  ha-ha, 

O-ah,  e-lo! 

How  they  frolic  ’mid  the  com. 

Singing,  singing,  thus: 

O-o,  o-ho, 

O-he,  e-lo  ! 


THE  INDIANS’  BOOK 


HEVEBE  TAWX 

Hevebe-Songs 

OTH  of  these  Hevebe1 -songs  are  very  old.  The  Hopis 
have  an  ancient  custom  that  is  a  playful  sport  and  at 
the  same  time  a  symbolic  invocation  for  rain. 

At  the  coming  of  the  “yellow  line,”  for  so  the  Hopis 
call  the  dawn,  there  may  sometimes  be  heard  the  Hevebe-song  of 
the  men,  as  they  go  in  line  through  the  village,  from  house  to  house, 
calling  to  the  inmates  to  rise  and  pour  water  on  them  from  the 
house-tops. 

“Often  we  are  fast  asleep,”  explained  a  little  butterfly-maiden; 
“  the  song  wakes  us  and  we  hear  the  men  and  boys  coming  nearer 
and  nearer.  We  hear  the  voices  and  the  splashing  water  and  the 
laughing.  And  quickly  we  rise  and  take  our  water -jars  and  go 
to  the  top  of  the  house,  to  be  ready  when  they  reach  us.  It  is  fun! 
We  try  to  get  the  coldest  water  to  pour  on  them!  But  the  old 
people  scold.  They  do  not  like  to  be  waked.  In  the  song,  the 
boys  call  themselves  the  4dawnlight-youths/  We  often  call  the 
Hopi  boys  4  dawnlight -youths/  as  Hopi  girls  are  called  4  butter¬ 
fly-maidens  4  and  4  shower-maidens/  They  are  pretty  names.  And 
the  dawnlight-youth  is  always  happy  because  the  sunlight  is  in  his 
heart.” 

The  custom  is  a  symbolic  invocation  for  rain.  For  even  as  the 
Hopi  woman  pours  water  from  the  house-tops  upon  the  men,  so 
will  those  above  pour  water  on  the  Hopi  fields. 


Hevebe,  archaic  Hopi  word,  possibly  the  name  of  a  certain  kind  of  cloud  or  cloud-deity. 


4 


HOPI 

I 

Song  by  Masahongva 


HEVEBE  TAWI 

Nana  hopipaqu 
Qoyangwunuka  kayiva. 

Nana  hopipaqo 
Sikiangwunuka  kayiva. 

Angwa  hawam 
Hawiwokialyata. 


Itamomi  kayivawicha 
Itamami  umuh  koyap  kayi  wtrtaya — 
Iyo,  iyo  ! 

Iyo,  iyo  ! 

Hevebeta  peyowi  I 
Wata,  wata, 

Wata,  wata  ! 

Qoyangwun-talao  ti' 
Sikiangwun-talao  ti’ 

Tahiyongva  to, 

Nahiyongva  to, 

Yanikitiwa 
Pavon  mamanta. 

Iyo,  iyo  ! 

Iyo,  iyo  ! 


HEVEBE-SONG 

Now  from  the  east 

The  white  dawn  hath  arisen. 

Now  from  the  east 

The  yellow  dawn  hath  arisen. 

Please  ye,  please  ye. 

Now  awake  ! 

Arouse  yourselves; 

Look  ye  here. 

Oh,  look  on  us  ! 

Lift  your  water-jars  and  o'er  us 
Pour  ye,  pour: 

Pour  ye,  pour  ye. 

Cold,  cold  ! 

Cold,  cold  ! 

Hevebeta,  come,  oh,  come ! 

Pour  down,  pour  down. 

Pour  down,  pour  down  ! 

Come  we,  white  dawnlight-youths, 
Come  we,  yellow  dawnlight-youths 

Bringing  joy  to  ye. 

E'en  as  joyful,  we, 

Here  where  dwell  the  maids — 
Dwell  the  shower-maidens, 

Cold,  cold  ! 

Cold,  cold  ! 


THE  INDIANS’  BOOK 


II 


Sung  by  Kuwanyisnim 

This  is  a  Hevebe-song  of  little  girls.  The  naked  children 
stand  in  line  before  the  houses  and  clap  their  hands  in  time  to 
the  song,  while  sprinkled  by  the  elders  from  the  house  -  tops. 
The  little  singers  frolic  and  laugh  as  they  frisk  about  and  rub 
the  water  over  their  shining  bodies.  The  children  may  sing  and 
play  thus  at  any  time.  Sometimes,  when  the  scarce  and  welcome 
rain  is  falling,  they  run  out  into  the  shower  and  perform  their  play¬ 
ful  ceremony  under  the  downpour  of  the  long-invoked  clouds. 


HEVEBE  TAWI 

Hevebeta,  peyowi, 

Hevebeta,  hevebeta  peyowi, 
Wu-wuta,  wu-wata — 

Wata,  wata — ow  ! 

Wata,  wata — ow  I 

Tovi  chi  chi, 

Tovi  chi  chi, 

Tovi  chi  chi, 

Shi-i-wa-hana,  (Shiwana) 
Shi-wa-wai-ya, 
Shi-wa-wai-ya, 
Wa-wa-wa-wa. 


Wa-wata,  wa-wata, 
AnoshkaY  anoshkai, 
Naishi  o-ou-ya-a, 
Naipa  o-ou-ya-a. 


Hevebeta,  peyowi, 

Hevebeta,  hevebeta  peyowi, 
Wa-wata,  wa-wata. 

Wuta,  wuta — ow  ! 

Wuta,  wuta — ow  ! 


HEVEBE-SONG 

Hevebeta,  come,  come, 

Pour,  pour  down. 

Pour,  pour  down. 

Pour  down,  pour  down — ow  ! 
Pour  down,  pour  down — ow  ! 

Hither,  flying  cloud. 

Hither,  flying  cloud. 

Hither,  flying  cloud, 

Sprinkle  me. 

Sprinkle  me. 

Cloud,  come  bathe  me  ! 
Hither  hasten. 

Hither  hasten. 

Come,  come,  come,  come  ! 

Pour,  pour  down, 

Pour,  pour  down. 

Oh,  change  me  now, 

Oh,  change  me  now 
Into  a  cluster  of  flowers, 

Into  a  cluster  of  showers  ! 

Hevebeta,  come,  come, 

Pour,  pour  down. 

Pour,  pour  down. 

Pour  down,  pour  down — ow  ! 
Pour  down,  pour  down — ow  1 


[488] 


HOPI 


LENE  TAWI 


Flute-Song 


Sung  by  Masaveimah  and  Kavanghongevah 


HE  Flute  Ceremony,  like  most  Hopi  ceremonies,  is  a 
prayer  for  rain  and  for  water  in  the  springs.  It  is  held 
in  August  when  water  is  most  needed,  and  is  performed 
in  alternate  years  with  the  Snake  Ceremony.  On  the 
ninth  day  of  the  ceremony,  the  priests  hold  sacred  rites  around  a 
spring,  some  singing, 'while  others  play  the  same  melody  on  large 
flutes.  There  are  two  flute  societies  in  every  Hopi  village,  the 
**  Blue  ”  and  the  **  Gray.”  This  song  belongs  to  the  Gray  Flute 
Society. 

LENE  TAWI  FLUTE-SONG 


Hao,  hao,  hao  inamu  ! 
Mashilenangwa  mongwita  ! 

Nananivo  omawata  wawai  mama ; 
Nananivaqo  yoi  nanakwushani. 

Peyo  yoi-amamatimani  yanga ! 
Peyo  yoi-hoyoyotimani ! 

t/yi  shonaka 
Hakame  yang 

Uyi  shonaka 
Bava-tala-winani. 


Hail,  fathers,  hail  ! 

Chieftains  of  the  Gray  Flute,  hail  ! 

At  the  four  world-points 
Ye  call,  ye  summon  clouds. 

From  the  four  world-points  upstarting. 
Shall  the  rain  hither  come. 

Hither  thunder,  rain-thunder  here. 
Hither  the  rain-thunder  will  come; 
Hither  rain,  moving-rain — 

Onward  now,  over  all  the  fields. 
Moving-rain. 

And  the  wet  earth,  ’mid  the  corn. 
Everywhere,  far  and  near, 

It  will  shine — water-shine. 


THE  INDIANS’  BOOK 


LOLOLOMAI’S  PRAYER 


A  Leaf  from  the  Recorder's  Diary 

T  was  sunset  when  for  the  last  time  I  climbed  the  steep  trail 
to  the  village  of  Qraibi.  The  level  desert  seemed  a  lilac 
seat  and  the  outlines  of  the  craggy  table-lands  were  sharp 
against  the  flaming  sky.  Many  weeks  had  passed  since 
I  had  left  the  railroad  to  take  the  long  two-days'  drive  across  the 
"  Painted  Desert  "  to  the  Hopi  villages,  and  in  those  weeks  I  had 
learned  to  know  and  to  love  the  "  People  of  Peace."  To-morrow 
I  must  leave  the  desert  and  its  freedom  for  my  distant  Eastern  home, 
and  so  I  sought  Lololomai,  the  aged  chief,  to  say  to  him  and  to  his 
household  a  parting  word.  Thus  I  passed  on  a  farewell  visit  through 
the  ancient  town,  with  its  terraces  of  roofs,  its  open  dance-plazas, 
and  its  odd  corners. 

The  chief's  house  was  near  the  end  of  the  village.  I  opened  the 
low  door  and  entered  a  dark  chamber  of  stone.  The  pale  light  of 
dying  day  came  faintly  through  the  narrow  windows;  a  smouldering 
fire  on  the  hearth  threw  flicker  of  light  and  shadow  on  a  group  of 
Indians  seated  on  the  floor.  A  nephew  of  the  chief  stood  before  the 
hearth;  the  firelight  showed  the  brown,  handsome  face,  velvet  clothes 
and  buckskin  leggings.  He  had  passed  me  on  the  trail  on  his  fleet 
white  horse,  flourishing  his  riding  quirt,  and  singing  as  he  rode. 

"Where  is  your  uncle,  the  chief,  Lololomai?"  I  asked  of  the 
young  man,  when  I  had  made  my  greetings. 

"He  has  gone  with  some  men  to  clear  the  springs,"  was  the 
answer.  "  The  sand  has  filled  the  springs  and  our  animals  have  no 
water." 

"  Then  I  shall  not  see  him,"  I  said,  sadly.  "  I  had  come  to  bid 
him  good-bye." 

But  Ponianomsi,  the  chief's  sister,  said,  "  I  will  bear  your  message 
to  Lololomai,  if  you  will  leave  your  words  with  me." 

Ponianomsi  was  of  high  importance  in  the  village,  for,  with  the 
Hopi,  descent  is  reckoned  on  the  female  side,  and  as  the  chief  is  the 
father  of  his  people,  so  is  his  sister  the  mother.  Ponianomsi  had  the 

gentle  courtesy  of  the  Hopi  and  the  added  dignity  of  her  position, 

r  490  J 


HOPI 


Her  shoulders  were  square  and  firm;  they  had  not  bent  beneath  the 
weight  of  the  water-jar  carried  daily  by  the  Hopi  women  from  the 
springs  up  the  steep  trail  to  the  village.  Mules  had  hauled  water  for 
the  household  of  the  chief;  Ponianomsi's  small  form  was  erect. 

The  hostess  spread  a  roll  of  sheepskin  on  the  floor  for  me  to  sit 
upont  and  I  joined  the  group  by  the  fire.  I  had  brought,  as  a  fare¬ 
well  gift,  a  jar  of  gray  sand  from  the  shores  of  the  Atlantic.  The 
Navajos,  neighbors  to  the  Hopis,  had  asked  me  the  year  before  to 
bring  them  such  sand.  They  had  said,  “  If,  in  our  ceremonies,  we 
use  sand  that  comes  from  where  there  is  so  much  water,  that  sand 
will  surely  bring  water  to  us  here;  it  must  help  us  in  our  prayers  for 
rain.” 

I  had  brought  enough  sand  for  Hopis  as  well  as  Navajos.  **  See,” 
I  said  to  the  group  at  the  fireside,  **  I  have  brought  you  something 
from  the  great  waters,  even  some  of  the  very  ground  that  lies  beneath 
the  waters.  The  sand  is  silver  there,  not  golden,  like  yours  upon 
the  desert.” 

I  opened  the  jar  and  poured  the  gray  particles  into  Ponianomsi's 
out-stretched  palm.  She  stooped  by  the  fire  the  better  to  see,  and 
slowly  let  fall  the  shining  stream  from  one  hand  into  the  other. 

**  Where  I  live,”  I  continued,  “  there  is  much  sand  like  this  and 
there  are  great  waters,  so  great  that  a  man  standing  on  the  edge  can 
see  no  land  upon  the  other  side.” 

Ponianomsi  closed  her  fingers  over  the  sand  and  looked  at  me 
with  earnest  eyes.  The  other  Indians,  too,  children  of  the  desert, 
all  gazed  upon  me  with  fixed  look.  The  sand  was  passed  from  hand 
to  hand.  Each  Indian  fingered  it  with  reverence. 

**  There  is  a  great  water  to  the  west  of  California:  that  you  know. 
But  my  home  is  by  the  Eastern  waters,  towards  the  rising  sun.  And 
in  my  home  the  fields  are  green  with  grass,  and  trees  grow  tall.  The 
mountains  there  are  not  barren  rocks  like  yours;  they  are  covered 
with  waving  forests.  The  sun  does  not  shine  always,  as  with  you; 
there  are  many  clouds,  and  much  rain  falls.  Sometimes  it  rains  for 
many  days;  then  skies  are  gray,  not  blue.” 

**  And  are  you  going  back  to  those  great  waters  and  that  Eastern 
land?”  said  Ponianomsi. 

**  To-morrow  I  must  go,”  I  said.  Then  spoke  Talaskwaptiwa, 

[491] 


31 


THE  INDIANS'  BOOK 


brother  of  the  chief,  with  true  Indian  hospitality.  “  But  you  will 
come  to  see  us  many  times  ?”  • 

“Ah  no,”  I  answered,  “  I  cannot  come  back  soon  again,  nor  can 
I  come  back  often,  for  my  home  is  far  away.” 

“How  far?”  said  Talaskwaptiwa.  “How  many  days  must  a 
Hopi  run  before  he  find  your  land  ?” 

“  A  Hopi  must  run  for  many  moons  to  reach  the  great  waters  of 
the  East,”  I  answered.  “  The  railroad  train  runs  four  days  and 
four  nights  without  rest,  and  the  train  runs  in  one  hour  as  far  as  a 
Hopi  does  in  a  day.” 

The  Indians  fingered  the  sand  in  silence.  It  had  come  a  long  way. 

“  You  would  be  surprised  at  so  much  green,  if  you  could  see  my 
country,”  I  said.  “  But  my  people  would  be  as  much  surprised  if 
they  could  see  your  com.  With  us,  corn  is  all  yellow  and  white, 
not  many  colored,  as  with  you.  We  have  never  seen  com  blue  and 
red  and  black  like  yours.  Will  you,  in  friendship,  give  me  of  your 
com  an  ear  of  every  color  to  take  to  my  people?” 

Ponianomsi  rose,  and  with  her  Talaskwaptiwa.  At  the  embers 
they  lit  a  tiny  bit  of  candle  and  picking  up  a  woven  basket-tray  went 
to  the  store-room  where  the  corn  was  neatly  stacked  in  sorted  piles 
of  different  colors.  They  brought  me  the  full  tray.  Ponianomsi 
held  it  in  the  light  of  the  fire.  “  See,”  she  said,  picking  up  in  turn  an 
ear  of  each  color,  “  the  blue,  the  black,  the  spotted,  the  pink,  the  red, 
the  yellow,  the  white,  the  lilac,  I  have  brought  one  of  each  kind.” 

All  light  had  faded  from  the  windows.  The  room  was  lit  by  the 
fire  alone?  night  had  come.  Outside,  the  white  horse  whinnied  and 
stirred  the  dust  impatiently.  I  rose  to  go;  Ponianomsi  took  my 
hand.  “You  will  not  forget  me,”  I  said.  Ponianomsi  answered, 
“We  will  pray  for  you,  our  friend,  and  when  you  are  in  your  far-off 
home  by  those  great  waters,  will  you  pray  for  the  Hopis,  that  they 
may  have  rain?” 

“  I  will  pray  for  the  Hopis  that  they  may  have  rain  and  that  they 
may  be  ‘good  in  their  hearts/  ”  I  answered,  using  the  Hopis'  own 
prayer-phrase. 

Talaskwaptiwa  stood  by  the  hearth,  his  face  grave  in  the  fire¬ 
light.  I  knew  that  the  time  was  drawing  near  when  the  Hopis 

would  plant  their  bahos ,  —  emblematic  prayer  -  sticks,  into  whose 

[492] 


HOPI 


feathered  ends  prayers  are  breathed.  If  any  Hopis  are  absent  at  the 
time  of  the  offering  of  bahos,  those  at  home  make  bahos  for  them. 
So  I  said,  u  When  the  Hopis  make  their  bahos,  will  they  make  one 
for  me?” 

Talaskwaptiwa  looked  up  quickly;  this  was  a  strange  request  from 
a  Bdhana. — an  American.  But  he  answered,  ”  We  are  spinning  now 
in  the  kivas;1  soon  we  shall  make  the  bahos.  I  will  make  a  baho 
for  you,  and  we  will  pray  for  you.” 

u  Pray  that  I,  too,  may  be  good  in  my  heart,”  I  said,  as  I  bent 
and  kissed  the  cheek  of  Ponianomsi. 

So  we  parted.  The  young  nephew  left  with  me,  for  he,  too,  lived 
at  the  foot  of  the  mesa.  Together  we  passed  through  the  shadowed 
village,  meeting  here  and  there  a  hurrying  barefoot  Hopi  flitting 
homeward  through  the  dark. 

The  young  man  led  his  white  horse  by  the  bridle  as  we  clambered 
down  the  rocky  trail  beneath  the  stars.  ”  When  Talaskwaptiwa 
has  made  the  baho,  what  will  he  do  with  it  ?”  I  asked. 

**  He  will  give  it  to  Ponianomsi,”  answered  the  Hopi,  “  when  all 
the  women  go  to  plant  their  bahos  she  will  take  it  with  her.” 

**  And  where  do  the  women  plant  the  bahos  ?” 

**  Over  there- — east!”  He  pointed  with  his  whip  to  the  cliff  above. 
“  On  the  edge  of  the  mesa  they  will  plant  the  bahos  when  the  yellow 
line2  comes  over  the  mountains.” 

”  Why  do  they  plant  them  at  the  coming  of  the  yellow  line?” 

**  Because  they  pray,  and  if  they  pray  when  the  sun  rises,  the 
sun  will  carry  the  prayers  up,  up!”  His  whip  moved,  in  illustration, 
from  horizon  to  zenith. 

**  And  to  whom  do  the  Hopis  pray?” 

There  was  a  pause,  then,  slowly,  “  It  is  that  which  makes  the  rain 
— that  makes  all  things.  It  is  the  Power,  and  it  lives  behind  the  sun.” 3 

1  Woollen  cord,  used  to  bind  the  bahos,  is  ceremonially  span  by  the  men  in  the  kivas — under¬ 
ground  council  chambers. 

2  The  Hopi  expression  for  dawn. 

3  Mrs.  Matilda  Cox  Stevenson,  of  the  Bureau  of  American  Ethnology,  in  her  classification 
of  the  Zuni  higher  powers,  tells  of  “  A'wonawil'ona,  the  supreme,  life-giving,  bisexual  power, 
who  is  referred  to  as  He-She,  the  symbol  and  initiator  of  life,  and  life  itself,  pervading  all 
space,”  also  of  “  The  Sun  Father,  who  is  directly  associated  with  the  supreme  power?  ...  he 
is  the  giver  of  light  and  warmth,  and  through  the  supreme  power  the  giver  of  life.”  (See 
“  The  Zuni  Indians;  Their  Mythology,  Esoteric  Fraternities,  and  Ceremonies.”  Twenty-Third 
Annual  Report,  Bureau  of  American  Ethnology,  Washington,  D.  C.) 

[493] 


THE  INDIANS'  BOOK 


44  And  the  katzinas  ?" 

44  The  katzinas  only  take  the  prayers*  We  do  not  pray  to  them*" 

44  Does  the  Power  that  lives  behind  the  sun  look  like  a  man,  or 
like  anything  that  the  Hopis  have  ever  seen?" 

The  Hopi  looked  at  me  in  surprise.  44  No,  it  is  not  a  man;  we 
don't  know  how  it  looks.  We  only  know  that  it  is” 

44  When  Lololomai,  the  chief,  prays,  how  does  he  pray?  Will  you 
tell  me?" 

44  He  goes  to  the  edge  of  the  cliff  and  turns  his  face  to  the  rising 
sun,  and  scatters  the  sacred  corn-meal*  Then  he  prays  for  all  the 
people.  He  asks  that  we  may  have  rain  and  corn  and  melons,  and 
that  our  fields  may  bring  us  plenty.  But  these  are  not  the  only 
things  he  prays  for.  He  prays  that  all  the  people  may  have  health 
and  long  life  and  be  happy  and  good  in  their  hearts.  And  Hopis 
are  not  the  only  people  he  prays  for.  He  prays  for  everybody  in  the 
whole  world — everybody.  And  not  people  alone;  Lololomai  prays 
for  all  the  animals.  And  not  animals  alone;  Lololomai  prays  for  all 
the  plants.  He  prays  for  everything  that  has  life.  That  is  how 
Lololomai  prays." 

We  trod  the  rest  of  our  downward  way  in  silence.  I  looked  up 
at  the  sky,  so  vast  and  deep,  lit  by  the  brilliant  desert  stars.  As 
we  neared  the  foot  of  the  trail,  I  glanced  back  at  the  village-crested 
mesa.  It  loomed  a  great  black  shadow  on  the  sky.  To-morrow, 
the  Hopi  world  would  no  longer  be  mine.  Then,  as  though  to  seal  in 
spiritual  beauty  the  memory  of  the  simple  people  of  Oraibi,  the  wide 
night  seemed  to  echo,  44He  prays  for  the  whole  world — for  everything 
that  has  life." 


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APPENDIX 


HE  following  paragraphs  are  from  The  Discovery  of 
America ,  by  John  Fiske.  The  famous  historian  here 
sets  the  seal  of  authority  on  the  value  of  the  study  and 
preservation  of  Indian  thought: 

“Aboriginal  America  is  the  richest  field  in  the  world  for  the 
study  of  barbarism.  .  .  .  Until  we  have  become  familiar  with  ancient 
American  society,  and  so  long  as  our  view  is  confined  to  the  phases 
of  progress  in  the  Old  World,  the  demarcation  between  civilized  and 
uncivilized  life  seems  too  abrupt  and  sudden;  we  do  not  get  a  correct 
measure  of  it.  ♦  .  .  But  among  the  red  men  of  America  the  social 
life  of  ages  more  remote  than  the  lake  villages  of  Switzerland  is 
in  many  particulars  preserved  for  us  to-day,  and  when  we  study 
it  we  realize  as  never  before  the  continuity  of  human  development, 
its  enormous  duration,  and  the  almost  infinite  accumulation  of  slow 
efforts  by  which  progress  has  been  achieved.  .  .  . 

“  The  folk-lore  of  the  red  men  is  found  to  be  extremely  interesting 
and  instructive.  .  .  .  No  time  should  be  lost  in  gathering  and  re¬ 
cording  every  scrap  of  this  folk-lore  that  can  be  found. 

“  The  pueblos  of  New  Mexico  and  Arizona  are  among  the  most 
interesting  structures  in  the  world.  Several  are  still  inhabited  by 
the  descendants  of  the  people  who  were  living  in  them  at  the  time 
of  the  Spanish  Discovery,  and  their  primitive  customs  and  habits 
of  thought  have  been  preserved  to  the  present  day  with  but  little 
change. 

“The  house  communities  of  the  southern  Slavs  are  full  of  in¬ 
terest  for  the  student  of  the  early  phases  of  social  evolution,  but  the 
Mandan  round-house  and  the  Zuni  pueblo  carry  us  much  deeper  into 
the  past.  Aboriginal  American  institutions  thus  afford  one  of  the 

richest  fields  in  the  world  for  the  application  of  the  comparative 

[533] 


THE  INDIANS’  BOOK 


method,  and  the  red  Indian,  viewed  in  this  light,  becomes  one  of  the 
most  interesting  of  men;  for  in  studying  him  intelligently,  one  gets 
down  into  the  stone  age  of  human  thought.  No  time  should  be 
lost  in  gathering  whatever  can  be  learned  of  his  ideas  and  institutions 
before  their  character  has  been  wholly  lost  under  the  influence  of 
white  men.  .  .  .  Some  extremely  ancient  types  of  society,  still  pre¬ 
served  on  this  continent  in  something  like  purity,  are  among  the 
most  instructive  monuments  of  the  past  that  can  now  be  found  in 
the  world.  Such  a  type  is  that  of  the  Moquis  fHopis]  of  northeastern 
Arizona.  I  have  heard  a  rumor,  which  it  is  to  be  hoped  is  ill-founded, 
that  there  are  persons  who  wish  the  United  States  government  to 
interfere  with  this  peaceful  and  self-respecting  people,  break  up 
their  pueblo  life,  scatter  them  in  farmsteads,  and  otherwise  compel 
them,  against  their  own  wishes,  to  change  their  habits  and  customs. 
If  such  a  cruel  and  stupid  thing  were  ever  to  be  done,  we  might  justly 
be  said  to  have  equalled  or  surpassed  the  folly  of  those  Spaniards 
who  used  to  make  bonfires  of  Mexican  hieroglyphics.” 


APPENDIX 


NOTE 

The  interlinear  translations  here  given  have  been  made  with  care  in  the  hope  that  the  book 
may  be  of  some  aid  in  the  comparative  study  of  the  linguistic  stocks  of  the  North  American 
continent;  yet  they  are  offered  as  approximate  only,  for  philological  accuracy  requires  full  and 
intimate  knowledge  of  Indian  languages — a  knowledge  which  the  recorder  does  not  possess. 
Whenever  an  authority  on  the  language  of  a  given  tribe  has  been  found,  his  criticism  has 
been  solicited,  as  follows,  and  the  recorder  wishes  here  to  express  her  grateful  acknowledgment 
of  the  services  so  kindly  rendered: 

Penobscot  and  Passam'aquoddy:  Dr.  J.  Dynely  Prince,  Columbia  University,  New  York. 

Kiowa:  Mr.  James  Mooney,  Bureau  of  American  Ethnology  Washington,  D.  C. 

Kwakiutl:  Dr.  Franz  Boas,  Columbia  University,  New  York. 

Zuiii:  Mrs.  M.  C.  Stevenson,  Bureau  of  American  Ethnology,  Washington,  D.  C. 

Hopi:  Rev.  H.  R.  Voth,  Field  Columbian  Museum,  Chicago,  Illinois. 

The  words  in  Indian  songs  are  often  changed  for  euphony  in  singing,  or  they  are  prolonged 
for  rhythmic  and  poetic  effect  by  the  addition  of  vocables.  In  the  following  pages  the  aim  has 
been  to  present  only  actual  words,  omitting  vocables  and  meaningless  refrains. 


WABANAKI 

MALISEET  DANCE-SONG 

Now  used  at  weddings 

Kwe-hiu-whz-ni-ho 

how  are  you:  how  d’ye  do  ( used  in  songs — not  the  common  expression — more  a  song-phrase 
than  words  with  distinct  meaning) 

kshi-te-ka-mo-tik  To 

dance  hard  if  you  please  ( abbreviation  of  Vlo  the, 

“l”  twice  sounded) 

pilsh-kwe-sis-tok  ski-no-sis-tok 

young  girls:  maidens  young  boys:  youths 


PASSAMAQUODDY  DANCE-SONG 

Wagad-alo 

our  (no  meaning — syllables  affixed  for  song-euphony) 
sanow  kchi  Blamswe-Zozep 

(meaningless  syllables,  as  above)  great  Frangois-Joseplie  (Francis-Joseph) 


n'musums 

grandfather 

ha-ba-mes-ba-na 

has  been  fishing 


MALISEET  LOVE-SONG 


Boski-u  klabin  (sung,  “ta-la-bin") 

very  often  you  look  up 

elmi  siguak  tabegilok 

next  spring  ice  is  breaking 

knamihi  skwelagweyan 

you  see  me  coming  down  the  river 

Next  spring,  when  the  ice  is  breaking  tip,  look  often  up  the  river, 
down  the  river  (“  in  mv  canoe,”  understood) . 

[  535] 


elmi  nlamwouik 

up  the  river 

chipduk 

you  might  (might  •  may  be) 
ku  we  nu  de  nu 
(meaningless  vocables) 

You  may  see  me  coming 


THE  INDIANS 


BOOK 


DAKOTA 


WANAGI  WACIPI 

The  soul  when  separated  Dance 
from  the  body:  Spirit 


OLOWAJV 

Songs 


(Ghost-Dance  Songs ) 


Ateyapi 

Father 


ki  n  maka 

the  earth 


owancaya 

lowaw 

everywhere 

to  sing 

he 

this 


eya  po 

say  ( imperative  particle ) 

The  Father  commands  all  on  earth  to  sing.  Say  this 


nisipe  lo 

commands  you  (ni,  you;  si,  command; 
p e,  plural  form  of  pi,  abbreviation  of 
pi-yela-yelo,  an  emphatic  ending) 

oyakapo 

tell  it  abroad 

Tell  it  abroad. 


II 


Ina 

.1 7 other 


ceya 

to  cry 
to  weep 


hekuye 

come  back:  come  home  (he  interjection; 
ku  come  home;  ye  a  precatory  form 
of  the  imperative  singular) 
omani  Ate  heye 

walking  about  Father  thus  saith  (heya  to 

say  this  or  that) 


misunkala 

my  younger  brother 
little 

lo 

(em  pliatic  ending) 


III 


He,  he 

{< exclamation ) 

watinkte 

1  shall  eat 


wanna.  wawate  wasna 

now  1  am  eating,  feasting  pemmican  ( dried  buffalo-meat 

minced  with  wild  cherries 
and  spices) 


WICASA  ATAWAiV  OLOWAN 

Man  Looking  at,  or  towards  Song 

(Song  of  the  Seer) 


Hocoka  waft 

Centre  of  the  camp — in  this  case,  '  a 

the  circle  of  warriors  who  are 
gathered  in  the  centre  of  the 
camp  awaiting  the  prophecies 
of  the  Seer,  or  Holy  Alan,  be¬ 
fore  setting  out  to  war 
yatortkal 
elsewhere 


cicuqon 

what  I  have  given  you 
what  I  have  prophesied 
to  you 


nortwe 

let  it  be  ( let  it  be  fulfilled) 


[  536] 


APPENDIX 


TASUMKE-SKA  OLOWAJV 

Horse  White  Song 


(Song  of  the  White -Horse  Society) 


Kola 

taku 

oteKika 

imakuwapi 

lo 

Friend 

whatever 

hardship 

charge  me  with 

(emphatic  ending) 

difficulty 

put  upon  me 

hena 

kowokipi 

sni 

waon 

welo 

these 

fearing 

not 

I  am 

(emphatic  ending) 

Friend ,  whatever  hardships  fall  upon  me 

,  I  fear  them  not ! 

(The  song 

is  also  sung  when  one  man  tells  another  that  whatever 

the  hardship  he  will  be- 

friend  him). 

TOKALA  GLOW  A  N 

Fox 

Song 

(Song  of  the  Fox  Society) 

Tokalaka 

miye 

ca 

nakenula  waon 

welo 

Fox 

1 

(i connective ) 

a  short  time  I  am 

(emphatic  ending) 

I  am  the  Fox.  I  am  living  but  a  short  time. 


TOKALA  WACIPI  OLOWA N 

Fox  Dance  Song 


Omani 

kin 

nayapapi 

ca 

T  ravellers 

the 

you  fled 

and 

Agna-Iyanke 

hena 

yunke-lo 

Beside  Runs 

there 

lay  (was  killed) 

yunkhe,  lying  prone ,  lo  (emphatic  ending ) 
You,  the  travellers ,  fled,  and  Runs-Beside  lay  killed. 


WAKA N  OLOWA N 

Holy  Song 

(The  story  of  the  Holy  Song  is  here  given  in  abbreviated  form  in  the  original  Dakota) 


Wakpa 

can 

soka 

el 

creek 

wood 

thick 

at 

river  or  stream 

a  tree 

trees 

ahi  tipi 

na 

memeya 

came  into  camp 

and 

circle 

also 

ahi 

moreover 

ahiti 

to  bring  to  a  place 

to  come 

and  pitch  one’s  tent.  Ti,  tipi, 

a  tent,  house,  dwelling 

etipi 

yun-kan 

napsiyoKii 

camped  at 

and  then 

finger-ring 

na 

napoktan 

ko 

wicakila 

and 

bracelet 

also 

he  asked  of  them 

ca 

kupi 

na 

wica  kila 

and 

they  gave 

and 

them  he  asked 

(feu,  to  give  to  any  one; 
pi  (suffix)  is  usually 
the  sign  of  the  plural) 

inikaga 

sweat-lodge:  new  life  (called  “  new  life”  because  after  the  sweat-bath  the  man  feels  as  though 
made  over.  The  sweat-bath  is  a  sacred  act  of  purification:  ini,  to  take  a  vapor-bath ,  inikaga, 
to  make  ‘‘ini.”) 


[537] 


THE 

INDIANS 

'  BOOK 

kagapi 

na 

can 

wan 

they  made 

and 

pole 

a 

(wood) 

paslatapi 

na 

el 

set  up 

and 

in 

pte-hinca-ha 

wan 

sayapi 

buffalo  calf  hide 

one 

a 

red  they  painted 

na 

el 

iyakaskapi 

and 

on 

tied  on  to  it 

(iya-kaskapi 

kaska 

iyakaska 

to  it  they  bound 

to  bind 

to  bind  to) 

wicasa 

wan 

eyanpaha 

icu 

na 

man 

a 

crier 

took 

and 

eyanpaha 

si 

na 

tona 

summon;  cry  out, 

or  bade  him 

and 

as  many  as 

herald 

kuzapi 

hena 

owasin 

kusela 

sick 

those 

all 

close,  near 

(were,  understood) 

V 

wicasi 

na 

ca.n 

kin 

to  come 

told  them 

and 

pole 

the 

(wica  them  tell; 

(wood) 

si,  cSmmand) 

hute 

el  can 

waksica  egle 

na 

base 

at  wooden 

cup 

placed 

and 

foot 

bowl 

(used  by  medicine-men) 

Iowan 

yun-kan 

ca.n 

eta  n 

mini 

sang 

then 

pole 

from 

water 

(abbreviated  form 

of  etanlian) 

o 

na 

waksica 

el 

ozula 

came 

and 

cup 

at 

full 

(Poured  or 

trickled  into  the  bowl  until  it  was  full) 

ca 

kuza 

kin 

wicaku 

waksica 

and 

sick 

the 

them  gave 

cup 

etanhan 

mini 

onqon 

he 

wicasa 

from  it 

water 

where  the  water 

those 

men 

was  contained 

ota 

yatkanpi 

tka 

yahepapi 

sni 

many 

drank 

but 

they  drank  u p 

not 

they  drained 

ohinni 

ozula  asnipi  glapi  na 

owanzi 

always 

full  cured  go 

home  and 

be  quiet 

(they  were  cured) 

one  or  some  (they) ; 

“o”  indicates  the 

locative  form 

yankapo 

na 

ake  Iowan  na 

maka 

he  commanded  them  to  and 

again  . 

sang  and 

ground 

stay  in  one  pla 

ce 

earth 

(yanka  to  be  in 

one  place; 

po,  imperative  particle) 

el 

owa 

na 

iwankam 

yugata 

on 

wrote 

and 

above 

his  hand  spread  out 

drew 

[  538] 


APPENDIX 


yunkan 

maka 

el 

owa 

qon 

he 

then 

ground 

on 

draw 

that 

it 

(drawing) 

yawa 

yunkan 

ihanhanna 

kin 

pte 

read 

then 

next  day 

the 

buffalo 

morrow 

otapi 

kte  lo 

eya 

yunkan 

ecetu 

plenty 

will  be 

he  said 

then 

zi  was  fulfilL 

(lo  ( suffix )  is  an  emphatic 

particle) 

ytinkan 

ake 

l’eya 

cezi 

kin 

hena 

then 

again 

this  he  said 

tongue 

the 

2/zose 

(le 

,  this;  eya,  he  said) 

oyoya 

kin 

na 

cante 

kin 

hena 

thighs 

the 

and 

heart 

the 

them 

(the  best  parts  of  the  meat) 

ayustanpiktelo 

eya 

na 

wanna 

tiyata 

they  leave  shall 

he  said 

and 

now 

fomf  2o 

(lo,  emphatic  particle) 

a2  tow? 

glipi 

nahan 

pte-ha 

etanhan 

ogle 

wikcemna 

they  came  back 

and 

buffalo-hide 

of 

shirts 

ten 

from 

topa 

(wikcemna-topa) 

kaga 

na 

pezi 

four 

forty 

made 

and 

straw 

na 

and 


makah'lilila 

mud  :  clay  (baked  clay?  *•  lilila  ”  Teton  form  of  “  lilita,”  hot) 


na 

and 

ca-Kli 

gunpowder 

na 

and 

na 


ca-lili 

charcoal 

wahinsa 

caps 


1C  u 

took 


wicasa 

men 


kin 

the 


can-nonpa 


na 

and 
wicaku 
to  them  gave 

wan 


mazasu 

wads 


na 

and 

opagipi 


owasm 

all 


na 

and 

kaga 

made 

inzinpi 

rose 

wi 


and 

wooden  pipe  a 

filled 

and 

sun 

kin 

on 

iyat'anpi 

1’eya 

oyate 

wan 

the 

with 

lighted  the  pipe 

2/u’s  sai<i 

people 

a 

(by  the  sun) 

(le,  2/w’s;  eya,  ke  said) 

tribe 

waste 

ca 

piya 

wakage  eya 

na 

wanna 

good 

and 

renew 

/  made  he  said 

and 

now 

regenerate 
infuse  new  life 

wagnikte 

eya 

/  return  will 

Ae  said 

WAKAAr  OJ.OWA N 

Holy  Song 

(M  edicineSong) 


Oyate 

people 

nation 

tribe 

wanna 

now 


34 


wain 

waste 

ca 

a 

good 

and 

piyawakage 

lo 

/  renew 

(emphatic  ending) 

I  heal 

,/  make  anew 

[5391 

THE  INDIANS'  BOOK 


wankanta  Tunkansila 

On  high— above  Great  Father 

Grandfather  {in  this  case  the  Supreme 
Being) — literally,  the  Great  Father 

ca  wanna 

and  now 


heya 

thus  said 


piyawakage 

I  make  anew 


Okicize 

iyotan 

OLOWA  N 

Song 

micilaqon 

war 

great 

I  was  thought 

battle 

chief 

sni 

se 

{adverb  of  negation) 

used  at  end  of  sentence  to 

not,  no 

emphasize — i.e.,  it  ivould 

seem  so,  so  it  seems 

I  was  thought  the  greatest  in  battle.  But  it  is  no  longer  so. 
ships. 


miyc 

myself 
I,  me 

iyotiyewakiye 

condition 

state 

Now  I  am  enduring  hard- 


OMAHA  WACIPI  OLOWAiV 

Omaha  Dance  Songs 

I 

Natanhiwan  winyan 

The  charging  enemy  woman 

The  enemy  charged,  but  I  made  a  woman  of  him  ! 


wakage 

made 


II 

leciya  nicopi 

{exclamation)  hither  they  called  you 

c 

WIOSTE  OLOWA N 

Love  Songs 

I 


Tokiya 

amayalcso 

higna-waya 

tin  na 

where  are  you  taking  me 

to  have  for  husband 

the  and 

temah’ilaqon 

(higna,  husband) 

esa 

wagnikte 

that  one  dearly  loves  me 

II 

so 

I  ivill  go  back 

Inkpataya 

nawazin 

na 

sina 

up  the  creek 

I  stand 

• 

and 

shawl 

blanket 

cicoze 

ma-ya 

leciya 

ku  wanna 

to  thee  wave 

{exclamation) 

III 

hither 

come  now 

Koskalaka 

otapi 

tka 

nisna 

iyokipi  mayaye 

young  men 

very  many 

although 

you  alone 

pleased  me 

iyota n 

cilaqon 

wankiciyake 

sni 

unqonkte 

most  highly,  most 
of  all,  chief 

I  esteemed  you 

seeing  one  another 

{negative) 

not 

we  must  part 

Although  the  youths  are  many,  thou  alone  art  pleasing  to  me.  Above  all  others  I  hold  thee. 
We  must  part,  not  to  see  one  another  for.  a  long  time. 


[540] 


APPENDIX 


IV 


Eyas  hececa  ye  lakas 

Although  thus  ( an  emphatic  particle)  indeed ,  certainly ,  truly 

awanicigla  waonqon 

I  shall  govern  myself 
I  watched  you 

First  Version. — Although  it  is  thus,  indeed  ( that  1  am  in  love),  1  will  nevertheless  guard 
my  self-respect.  Take  me  by  the  hand. 

Second  Version. — That  is  the  reason.  I  watched  you.  Take  my  hand  and  part. 


(an  emphatic  particle ) 
nape-mayuza 
hands  grasp  me 


Ehake 

last 


teciliilaqon 

1  loved  you 

ehake 

last 

last  time 


Surzka 

Dog 


Kolapila 

Friends  my 

yelo 

(emphatic  ending) 


V 


wanmayakuwe 

look  upon  me 
come  to  see  me 

wanna 

now 

wanmayakuwe 

look  upon  me 
come  to  see  me 


sice 

term  of  endearment  of  a  woman  to  a  man 
loved  one 
my  love 


waya 

school 

ehake 

last 

last  time 


wamanikte 

I  am  going  away 

nape-mayuza 

take  my  hand 


SUVKA  OLOWA N 

Dog  Song 

Song  of  the  Dog  Feast 

wayatanin  /  wayata  nin 

may  you  eat !  '  to  eat  may  it  be 


OKICIZE  OLOWAV 

War  Song 


takuyakapi  lo 

what  you  say 

epinaha n 

I  said 


maka  kin 

earth  the 

blehemiciye  lo 

/  exert  me  (emphatic  ending) 


mitawa 

mine 

(my  kingdom) 
(my  domain) 


PAWNEE* 


TAVT  KURUKS 

Song  Bear 

(‘  ‘  T awi’  ’  ’  abbreviation  of  “  7  awio  ’  ’) 

Song  of  the  Bear  Society 

hi  tzapat 

and  a  woman 

iriritah 
(as)  those  do 

rura  whia1 

which  come  moving 
along  the  ground 

1  The  terminal  “a”  indicates  “to  come,"  i.  e.  direction  towards  the  speaker. 

[541  ] 


Rerawha-a1 

Those  yonder  coming 

rakuwaka 

who  would  say 


rasakura1 
rays  of  sun 


para 

almost 
kuatutah 
oh,  if  I  could  do 
(kua,  oh,  if:  t,  I:  ut, 
on  behalf:  ah,  to  do) 


riku  ratutah 

thus  I  who  did  so 

(ra,  the  one  who: 
t,  at,  on  be¬ 
half:  ah,  to  do) 
rukuksa  rasakura 

which  come  down  rays  of  sun 


THE  INDIANS’  BOOK 


TAWI'  KURUKS 

Song  Bear 

Song  of  the  Bear  Society 


Nawa 

Atira 

ha 

we 

ra 

Now 

the  mother  ( Mother-Corn  understood) 

behold 

she 

cometh 

nawa 

Atius 

ha 

we 

ra 

now 

the  father  ( Father-Hawk  understood) 

behold 

he 

cometh 

IRUSKA 

Songs  of  the  ‘  ‘  Iruska  ’  ’ — warriors  who  have  won  war  honors 

I 

Narutitawe  Atius  tiwaku 

a  noun  meaning  a  thing  without  an  owner —  Father  saith 

a  lone  thing,  abandoned,  forsaken,  orphaned 

asawaki  ratawe 

spotted  horse  the  one  among  them,  i.  e.  the  one  among  them,  that  does  not  belong  there 


II 

Hawa  Atira 

again  *  Mother 

tziksu  weta  tariruta  ( Mother-Moon  understood) 

spirit  now  I  do  for  you:  meaning,  my  spirit  relies  upon  thee,  I  put  my  faith  in  thy  power 
(tziksu,  thinking  power,  mind,  spirit) 


III 


War-Dance  Song  of  the  Iruska 


Atius 

Father 

karaku 

there  is  not  over  thee  any  that  is  greater 


si 

thou  art  he 


IV 


tus  kitawiu 

thou  ruling  over 

u-kitawiu 

thou  alone  art  ruler 


Iruska  Song  of  the  Corn-Offering 

Atius  ha  is-tewat  askururit 

Father  behold  look  thou  together 


weta  tsihakawatsista 

now  we  partake,  eat 


SKIRIKI 

Coyote 

Coyote  Warrior-Song 

Ah  tirus  takawaha 

(i exclamation  of  adoration)  yonder  expanse  of  heaven 

tiratpari 

I  walk  or  roam  ( I  walk  over  the  prairies) 

tatara  kita-wira 

I  recognize  thee  as  supreme ;  meaning,  I  put  my  faith  in  the  supreme  power  (kita,  above,  over  all, 
supreme) 

hawa  re-rawira 

again  I  am  on  the  war-path  ( literally ,  “walking  m 

anger” ;  “  war-path”  is  not  a  Pawnee  expression) 

[542] 


APPENDIX 


SAKIPIRIRU 


Atius 

Father 


esa 

is 


Young  Dog  Dance-Song 

ruka  ratu 

the  one  me 


teriku 

I  saw 


KISAKA 

Song  o}  Rejoicing  and  Thanksgiving 


Nawa 

now 

ta-titska 

I  wish 


Atius 

Father 

asuta 

should  be 


an  expression  meaning  thanks ,  or  with  gladness  or  thankfulness 
hawa  rurahe 

again  that  which  is  good 

{ long  life ,  plenty  in  the  fields ,  good  gifts ) 
O  Father ,  while  giving  thanks  I  wish  that  that  which  is  good  may  be  again — or,  that  all  good 
gifts  may  be  renewed. 

KITZIC7/TA 

Lance  Ceremony 

Kitzic/zta:  A  particular  kind  of  lance  from  which  comes  the  name  given  to  the  society  and  its 
ceremonies 

Nari-ru-rit  riwaka 

it  ivas  said,  or,  some  one  said  (narit-ru  somebody,  they  ■  riwaka,  spoke,  said) 
tzapat  tiwaku  Taku  kaki 

woman  this  did  say  dance  ( Lance-Dance )  no 

nariksha  Kitzic/ita  ra  huriwi 

not  real  The  Lance  yonder  walking  around 

not  true 

not  true  for  you  { The  men  who  own  the  lance  are  walking  around  in  the  ceremony). 

KEHARE  KATZARU 

Dance  Spirit 

Songs  of  the  Spirit-Dance 


Irittatu  terit  na- 

I  saw  it  verily 

nawiru-tzawhio 

flag  (nawira,  cloth  ;  tzawhio,  that  which  floats  in  the  air) 


II 


Ah 

{exclamation) 


Ah 

{exclamation) 


heru 

dear 

beloved 


tzu-ut 

sister 


Atius 

Father 


kaw-kaw 

the  caw  of  the  crow 

kuhruri 

wait 


III 

rutatiku 

I  am  stirred 
moved 
touched 

rakuwak-tahu 

cawing  like  a  crow 
imitating  the  sound  of  the  crow 

operit  ti 

star  that 


we 

now 


rittatu  terit 

I  saw  it 

rhurhera 

beautiful 


ta-ita 

knows  you 


tziksu 

mind 

spirit 

thinking- power 


we  raku 

when  it  is 


operit 

star 

{morning  star) 

ra-hu 

coming 


retkaha 

night 


we  ra 

when  coming 


ra 

coming 


ti 
/ 
that 

{pronoun) 


[543] 


THE  INDIANS'  BOOK 


IV 


Ruwerera 

it  is  coming  yonder 

Atira 

Mother  ( Mother-Moon ) 


operit 

star  ( Evening  Star  understood  in  first 
verse ,  Morning  Star  in  fourth) 

Atius 

Father  ( Fatlier-Sun ) 


rerawha-a 

i/zey  are  coming  yonder 
(re,  yonder :  ra,  com¬ 
ing:  wha-a,  many) 


Ma-acAis 

oW  »Z(7)Z 


CHEYENNE 

WUCtfTCHSE  ETAN 

NO-OTZ 

Red  Fox  Man 

Song 

hevisa 

naehio 

abbreviation  of  hevisoc/ztzi,  /zz's  feeif/z  abbreviation  of  natomo-wonotziyi, 

I  am  afraid  of  him 


HOHIOTSITSI  NO-OTZ 

Morning  Song 

Ehani  nah-hiwatama  napave  vihnivo 

Our  father  has  had  pity  on  me  good  on  my  way 

(is  blessing  me)  (I  am  happy ,  blessed,  at  peace) 

Our  Father,  the  ruler  ''of  the  sun,  has  been  merciful  to  me.  Happily  I  go  on  my  way  in 
peace. 


Honih-hio 

wolves 

Wolves  eat  in  the  morning. 


AOTZI  NO-OTZ 

Song  of  Victory 

tsi-wona-atz 

in  the  morning 
(wona,  morning) 


AOTZI  NO-OTZ 

Song  of  Victory 


Tsivais 

these 


siyo 

many 
( people ) 


tsitonitoyus 

look 


maitom 

red  paint 


tahta 

in  sight 


namas-sim 

we  start  off  (plural  form) 


(the  idea  of  daylight  is  also  conveyed  by  this  word) 


imio-missi-yo 

eating 


tsihotonihos 

thickly  piled  on 
(those  with  red  paint 
thickly  piled  on) 


AOTZI  NO-OTZ 

Song  of  Victory 


Hetanu 

dzinimat 

hitu 

homino 

nimadzi 

box-wood  bow 

carrying 

this  one 

elm 

carry 

(sacred  bow) 

(bow  understood) 

Bearer  of  the 

Sacred  Bow.  You  should 

carry  a  bow  of  elm. 

NAI  NO-OTZ 

Healing  Song 


nama-eyoni 
holy  man 

[544] 


Taeva 

at  night 


tze-ihutzittu 

when  I  go  my  way 


APPENDIX 


Huc/zdjeho 

wood-rats 

etanio-o 

men  ( the  double  o  is  plural  form) 


WAWAHI  NO-OTZ 

Swinging  Song 

ntochdztyo 

come  here 

ini-stoni-wahno-tziyo 

are  drawing  near 


Meshivotzis 

baby 


MESHIVOTZI  NO-OTZ 

Baby  Song 


naotziyo 

sleep 

(a  prolongation ,  for  singing,  of  naotz) 


Mata- 

T imber 
ehenowe 

thus  they  say 


tsiso 

little 

(little  one) 


ARAPAHO 


HASSE-HI  NAAD 

Raw-hide  Song 


{The  name  raw-hide  alludes  to  the  buffalo-hide,  which  is  an  important  feature  of  the  ceremony) 


Hedawunaneina  hishish 

he  will  have  pity  on  us  sun 

that  he  may 

may  he  {invocation) 

HAC7/E-HI  NAAD 

Wolf  Song 
or 

JACHU  NAAD 

Comanche  Song 


Nahani  chita-ini 

behold  look  hither 

here 

hani 

probably  for  a  long  time 

{it  will  be  long  ere  you  will  see  me) 


hitha  babian 

there  far  away 

hatinahawuni 

you  will  see  me 


nisana 

my  father 


niyihana 

I  am  going 

{on  the  war-path  understood) 
haka  nihin 

because  you  say 


KAINAWAD  NAAD 

Circle  Dance  Song 

Seniesana  niha-nawtt  nanai  baeno 

I  stepped  into  yellow  water  it  was  turtle 

I  waded  in,  or  through  that  is 

HO  NAWAD  NAAD 

Crow  Dance  Song 

Hesonanin  ho-hu 

Our  Father  crow 

(ho,  croiv;  hu,  syllable  added  in  singing) 


nidjieh-hi 

lake  (hi,  added  syllable  for 
euphony  in  singing) 


bahinahnit-ti 
he  is  all  (ti,  added  syllable 
for  eu phony  in  singing) 


NAKAHU  NAAD 

Sleep  Song 
{Lullaby) 

Cheda-e  nakahu-kahti  bebe 

term  of  endearment  go  to  sleep  baby 

{literally:  little  big-belly,  meaning  little  boy,  little  tot) 

[  545  ] 


THE  INDIANS’  BOOK 


Natinac/iabena 

seeking  for  horses 
I  seek  my  horses 


Nananina 

/  am 

( second,  vowel  “a”  broadened 
for  euphony  in  singing) 


G0C770TI  NAAD 

Hand-Game  Song 

ni  nananaec/iana 

now  I  am  looking  all  around 

HICHAAC7/UTHI 

Those  with  Clubs 

(Hichaa  ch) 

Clubs 

Nanakunithana 

White  Horn 

Neyac/tat-Chawaat  cha 

Whirlwind  Running  again 


nananina 

I  am 
anitana 

I  am  living 


KIOWA 

GOMDA  DAAGYA 

Wind  Song 

( Very  old  song ,  some  words  archaic) 


A-doguonko 

the  lazy  youths 
{those  who  have  remained 
in  camp  instead  of  going 
on  the  war-path) 

on-dekia 

he  is  alone 

The  lazy  youths  idling  at 
But  him  whom  I  love  is  far 


ayi-ya 

somewhere 


do-peya  kuyo  kionte-go-k‘ian 

at  home  sitting  about  loved  ones 

{idly?) 

on-pali 

he  is  sick 
home-sick 

'  pining 

weary 

home  in  camp  may  see  their  loved  ones  whenever  they  choose, 
away  on  the  war-path ,  lonely  and  weary. 


etbonholgon 

they  can  see  them 
whenever  they  ivish 


GOMDA  DAAGYA 

Wind  Song 

Pako  e’k'ianda 

but  one  lover 

{but  one  that  I  love) 

ankom  oyom  giie 

an  expression  meaning,  the  time  grows  long,  or  he  is  lonely  and  weary 


ayi  apo  hayi 

taken  somewhere  somewhere 

{he  has  gone  on  the  war-path  with  other  men)  afar 


imp  oya 

missing  me 


GOMDA  DAAGYA 

W ind  Song 


Agulkide  dogul-orcgu 

I  envy  young  men 

{who  are  well  off) 

tont*-o-no 
has  no  thought  of  it 
{nobody  at  home  has 
any  thought  of  mis¬ 
sing  me) 


ambonpoya  dogya  nokon  hondc 

they  are  missing  you  at  home  me  nobody 


yai-dahe-ba  kuyo 

why  are  you  sitting  about  silent  and  forlorn?  why 
do  you  not  sing  and  lighten  your  hearts?  (yai, 
joy  :  dahe,  singing  :  ba,  plural  ending  for 
more  than  three  ;  kuyo,  sitting  about 
I  envy  you  fortunate  young  men.  You  are  well  off — you  have  loved  ones  at  home  who  are 
longing  for  you.  I  have  no  one.  Nobody  has  a  thought  of  missing  me.  Why  are  you  sitting 
silent  and  forlorn?  You  should  be  singing  to  lighten  your  hearts. 

f  546 1 


APPENDIX 


KOALDA  DAAGYA 

Begging  Song 


goa-ai  n 

that  is  why  we  are  coming 


Irchote  to  sai  talyi  k'anhoton  atzeyuda 

here  tipi  ( connective )  boy  spider  pet 

{in  this)  {sung,  talyi) 

hondeta  al  ahanda 

something  {connective)  to  eat 

ak'ainkottma  giat'akwot 
give  something  for  the  sake  of  the  child 

(ak'ainkot,  any  oily  food:  na,  connective:  giat'akwot,  knock  out,  such  as  to  knock  something 
out  of  a  box— to  throw  away) 

Within  this  tipi  dwells  a  child  with  his  little  spider-pet.  That  is  why  we  come  to  you.  Give 
us  something  to  eat  for  love  of  the  child  and  his  pet! 


T'APK'O  DAAGYA 

Antelope  Song 


To  n  k'an 

wooden  spoon 

tainkyowitte 

my  grandmother 

komdombe 

the  interior  edge  of  the  tipi,  near  the  wall 

tsainiya 

that  was  the  time 


giapowitzep 

I  lost  it 


no 

and  then 


tain  hoi 

whipped  me 

tonok  o 

lying  on  the  ground  and  crying 
{to  throw  one’ s  self  on  the  ground  in  anger,  crying) 

ode 

a  prophet  or  holy  man  :  one  who  has  super¬ 
natural  or  divine  power,  who,  through  divine 
aid,  is  always  able  to  procure  food  in  plenty. 


domgya 

divine,  miracidous  power 

I  lost  my  grandmother’ s  wooden  spoon.  She  whipped  me,  and  I  threw  myself  on  the  ground, 
crying,  beside  the  tipi  wall.  There  it  was  that  there  came  upoyi  me  in  sleep  the  divine  power 
to  become  a  holy  man,  a  worker  of  wonders,  a  winner  of  food. 


A-go-go 

your  mother 
t'anba  {or  tomba) 

tube  near  the  heart  of  the  antelope, 
the  choice  morsel 


OKUM  DAAGYA 

Stop-crying  Song 

t'oph'o 

{same  as  t'apk'o) 

antelope 


goan-kontono 

she  will  bring  it  to  you 

ok'un-balita 

a  noun,  meaning  that  which  one 
eats  when  too  hungry  to  wait 
for  the  regular  meal 


Thy  mother  will  bring  thee  the  antelope,  and  the  choice  morsel  shall  be  thine  for  a  tidbit. 


OKUM  DAAGYA 

Stop-crying  Song 
{Lullaby) 

Iapagya 

mairtte  koain 

zotom 

baby 

coming  down  the  river  swimming 

{with  the  current) 

drift-wood 

tonsadal 

tsainyi 

polainyi 

legs 

rabbit  {prairie  dog  f) 

The  baby  is  swimming  down  the  river 

Little  drift-wood  legs, 

Little  rabbit  legs. 

{Nonsense- rhyme) 

[547] 

rabbit 

THE  INDIANS’  BOOK 


GVU  DAAGYA 

War-path  Song 

Ameyaidonhonme  ain  honya  mopoiko 

that  playful  word  you  said  to  me  I  never  can  forget  (yai,  playing  :  don,  words  :  hon,  negative) 
anti  yayowut  hoyano 
1  am  waiting  for  the  first  lover 

tsainko  gompaomk’o  eyamkom 

horses  sore  back  that  are  being  given  for  me 

The  maiden ,  speaking  in  thought  to  her  first  lover,  says: 

That  playful  word  you  said  to  me,  I  never  can  forget.  Thus  I  wait  for  my  first  lover. 
The  ponies  that  are  now  being  given  for  me  all  have  sore  backs! 

WINNEBAGO 


Wa-le 

who 

wa-lai-na-nap 

you  gather  them  in 


Wash-ching-ge 

hare 

wa-la-ka 

your 


WASH-CHING-GEKA  NA-WA’  NI-NA 

Hare  Song  Own 

Song  of  the  Hare 

ki-zi-na-nap 

reaches  out  with  his  tongue 

ai-le-la 

they  say 


sa-ah-zhe 

used  to 


WI-LA 

The  Sun 

hin-khu  lush-ka-le 

to  loosen  me 


cha-ku 

what 


NA-WA’  NI-NA 

Song  Own 

hi-tek-nik 

little  fathers 
{uncles) 

ki-shkan 

they  do 


wa-la-ka 

your 


hi-la- 


chun-ka 

great  one 
hin-gi  na-nap 

gather  me  in 


hi-u-ni-nik 

little  mothers 
( a  unts) 

ni-he  kche-zhe 

will  ever 


Mo-zhttn-na-Ie 

earth  full  this 

ne-sha-na 

I  alone 


WAI-KUN 

Fable 


pe-zhe 

who 


ma-c/ii-nik-gla 

sky  little  the 


ya-ki-ske  shun-non-nink  na-gi-kche 

is  there  like  little  me  * 

ya-ki-o-o 

can  touch 


Throughout  the  earth,  who  is  there  like  to  little 1  me!  I  alone  can  touch  the  little 1  sky! 


Ma-o-na 

Earth-Maker 


MA-O-NA 

Song  to  the  Earth-Maker 

wai-kan-chunk  hi  kche 

holy  am  1  to  be 


hing-ge 

tells  me 


MUiV-KU  N  NA-WAN 

Medicine.  Song 

The  words  of  this  song  are  ritualistic,  and  most  of  them  are  archaic.  They  are  greatly 
changed  in  singing,  being  drawn  out  by  the  interpolation  of  vocables.  The  hidden  meaning  is 
understood  only  by  the  initiated.  The  few  words  that  can  be  translated  literally  are  the  following: 

Han-te  {sung,  ha-ha-ti-hi)  hi-na-wi-na 

I  went  away  and  learned  the  spirit  says,  “  Dream  again,  tell  of  me” 

ma-na-gle  nac/t-kwang-1  {sung,  ha-ha-wha-nan-g’le)  shi-ke-ha-e-hi 

the  world  hear  me  in  the  beginning 

1  Diminutive ,  like  the  German  suffix,  “  chen.” 

[5481 


APPENDIX 


Ma-na-gle 

the  world 
chi-na-gla 

the  village 


HI- W  A-SHI-D  A 

Dance 

wu-hi-ni-gi-gi-na 

I  have  won 

wu-hi-ni-gi-gi-na 

I  have  won 


ha-chi- je-na 

I  am  come  now 

ha-chi-je-na 

I  am  come  now 


MUiV-KUW  NA-WA N 

Medicine  Song 


( The  words  of  this  song  are  ritualistic ,  and  do  not  occur  in  the  spoken  language  of  to-day) 


Ma-ni-na 

medicine-arrow  (mana,  arrow) 
le-ha-no  ma-ni-na 

let  it  fly  medicine -arrow 


le-ha-no  wunk-i-wi-zha 

make  it  go,  let  it  fly  upon  the  man  (wunk,  man) 

le-ha-no  hi-nuk-i-zha  le-ha-no 

let  it  fly  upon  the  woman  (hinuk,  woman)  let  it  fly 


HE-LUSH-KA  NA-WA N 

Warrior  Song 

T 

Shun-ke 

horses 

shun-ke 

horses 

wo-djin 

whip 

wa-na-ma-ne 

urge  them  on 

X 

wi-ne  ko-la-wi-la 

your  comrades 

Pa-ni  guch-la 

Pawnee  shooter 

Pa-ni 

Pawnees 

Pa-ni 

Pawnees 

ka-lai-la-  d  j  u-ka 

they  have  gone 

ka-lai-la-dju-ka 

they  have  gone 


HE-LUSH-KA  NA-WA N 


Warrior  Song 


Wa-we-la 

II 

ha-dja-le 

hi-cha-ko-lo 

my  trail 

you  see 

friend 

wa-cha-la 

wa-we-la 

I  saw 

my  trail 

See  what  a  trail  is  mine! 

Friend,  I  saw  the  Pawnees.  See  what 

Pa-ni-na 

Pawnees  those 
ga-ske-na 
it  is  thus 
trail  is  mine! 


Ho-chunk-gi-le 

Winnebagos  these 

hi-ta-lo 

friends 


HE-LUSH-KA 

Warrior 

III 

hi-she-na 
you  say 
hi-she-na 

you  say 


NA-WA  N 

Song 

Pa-ni-na 
Pawnees  these 
Ho-chunk-gi-le 

Winnebagos  these 


hi-she-na 

you  say 

hi-she-na 

you  say 


HE-LUSH-KA 

NA-WAN 

W arrior 

Song 

IV 

Ho-wi 

lo-ki-wa-wi-le 

lo-han 

tt’eh-hi-ga 

around 

ride  with  him 

many 

kills 

ma-shorc  o-ni  je-na 

feathers  is  looking  for 


Y  a-tt’-eh-la 

when  I  speak 

Na-ju-zi-la 

Yellow-Hair 


HE-LUSH-KA  NA-WA N 

Warrior  Song 


hamb-la 

day  the 
Ho-chunk-la 

Winnebagos  the 


V 

pin-na 

fine 

zhe-skai-le 

are  all  like  this 

[549] 


hi-he-la 

so  I  say 

hi-he-la 

I  say 


na-nach-kon-je 

you  hear  me 

na-nach-kon- j  e 

you  hear  me 


THE  INDIANS'  BOOK 


Pe-zhe-ga 

whom 


WA-GI-TT’EH  NA-WA N 

Mourner’s  Song 

ko-ni-ka 

grandmother 


ya-ge-kche-ne-zhe 

to  call  I  wonder 


WAK-JE  NA-WAW 

Scalp  Song 

.  Victory  Song 

Pa-jo-ka  nik-la  hi-zhuk 

Winnebago  name  for  Comanche,  little  gun 

a  neighboring  tribe 


ha-ni-na 

my 


Na-ni 

mother 


WUNK-HI  NA-WAiV 

Men  about  Songs 
Songs  about  Men 
( Love-Songs  of  the  Women) 

dega-go  e-dja 

my  uncle  to  . him 


nan-na-ke-we-no 

you  are  afraid  of 


wa-de-kjela 

I  wish  to  go 


WUNK-HI  NA-WAiV 

Men  about  Songs 
Songs  about  Aden 
{Love-Songs  of  the  Women) 

Hi-zhan  ho-do-chuch-ka 

whoever  1  look  at 


zhe-ske  shu-nu-na  hi-zha  n 

becomes  thus  {love-crazed,  understood)  whoever 


wa-ki-tt'-eh-ka 

I  speak  to 

zhe-ske 

becomes 

wi-do-kan-na-na 

one  under  my  power 


zhe-ske 

becomes 

shu-nu-na 

thus 

hi-zhan 

whoever 


shu-nu-na 

thus 

hi-cha-ko-lo 

friend 

do-mai-ku-ka 

I  touch 


hi-zhan 

whoever 

hi-nuk 

women 

zhe-ske 

becomes 


wai-zhi-zhi-ka 

1  whisper  to 

lo-in-na-gle 

ones  who  want 

shu-nu-na 

thus 


KWAKIUTL 


KLAWULAGtfA 

Song  of  the  Totem-Pole 

ila  - 

causing 


koi 

distant 


Pulnakwila-  kiash- 

flood  growing  real 

Wakiash- 

( the  literal  meaning  of  the  name  “Wakiash”  is  Wa,  river ,  kiash,  real) 
kiash-  o-  choi 

real  good  there 

{Wakiash,  the  man,  is  called  “ The  River”  because  he  is  rich  and  generous,  full  of  gifts  as  the 
river  is  full  of  fish) 

hitlpalkwala-  kyilish-  kiash-  ila-  koi 

flood  noise  the  world  real  causing  distant 

Kalakuyuwish 

name  of  a  particidar  totem- pole,  supposed  to  mean  the  “ pole  that  holds  up  the  sky.”  Also  a 
name  of  the  man,  Wakiash,  who  takes  the  name  of  the  totem-pole. 
lac/i-nahkwulla-  choi 

in  the  world  there 

Meaning: — Wakiash  causes  the  distant  flood  to  rise,  signifying  that  his  greatness  and 
generosity  are  overflowing.  The  totem-pole  is  making  a  noise  {like  the  creaking  of  trees)  be¬ 
cause  it  holds  up  the  sky  and  the  sky  is  so  heavy.  Good  in  the  world  is  Kalakuyuwish  who 
raised  up  this  pole. 


f  5501 


APPENDIX 


PIMA 


CHUHWUHT 

World 


Chuhwuht-tuh 

world 


makai  (sung,  maka-i) 
creator 
maker 

also  holy  man,  or  medicine-man 


chuhwuht-tuh 

world 


nato 

finished 


himalo  himicho 

now  it  is  started 


CHUHTEK-OHOHIK  NIEH 

Blue-Bird  Song 

(The  words  of  this  song  are  very  much  changed  for  singing) 

Hai-ya  hai-ya  hai-ya  nieh-nieh-i  a-to  ho-huk 

(exclamation  of  sadness,  meaning,  “alas,  woe  ’ s  me!")  my  song  is  all  gone 

(sung,  nieh  ha  nieh  va  yo-hu-ka) 
va  ha  va  ho-huk 

will  all  be  gone 

(sung,  va  ha  maw-haw  va  yu-ka) 

HUHWUHLI  NIEH 

Wind  Song 
(Medicine-Song) 

yo-osik  a-ai  huh-wurt  (sung,  ya-hai  huh-wurt) 

blossom  swaying  back  and  forth 

kano  (sung,  kani-hu-va  muh-muhk)  muk 

way  over  far 

kano  ya-ha  kimoich  (sung,  ki-moi) 

way  over  ridges  in  the  desert  o’er 


chuhtek-ohohik  nieh-nieh 

blue-bird  song 

(sung,  cheh  wahl  ohi  nieh-nieh) 


Hanam 

cactus 

(a  variety  that  has  fruit  which 
the  Indians  eat) 
kachuwuch  (sung,  ka-cho-wuch-chi) 
they  grow,  stand 


APACHE 

MEDICINE-SONG 

Awbizhaye  shicM 

little  cloud  me,  I 

niniya  tsago  degi 

this  is  the  way  1  go  this  place  holy 

Upon  a  little  cloud  I  ascend;  thus  I  journey  upward, 
pass  through  the  air. 

YUMA 


hadahiyago 

going  up 

naleya 

changing  while  going  through  the  air 
To  a  holy  place  I  go,  changing  as  I 


Amai 

sky 

tza  mi  na  hi 

it  is  he  who  sings  (?) 


AROWP 

Song 

ariwa 

thinly  covered  with  clouds 

hunya  kwa  pai  va 

I  go  up  the  grade 


(I  go  on  the  straight  road,  meaning  I  am  good  and  happy). 


shakwakwa  (sung,  shakwa) 
mocking-bird 
hunya  kwa  hul  pa 

I  go  up  on  the  level,  or  (straight)  road 


NAVAJO 

DSICtfL  BIYIN 

Mountain-Song,  or  Hymn 

Piki  yo  ye  dsicftf  nanta”  sa-a  nara'i  bike  hozhoni 

meaning,  I  walk  up  to  the  mountain  chief  living  forever  happiness  everywhere 

mountain ,  or ,  I  walk  thither  life  unending 


[5511 


THE  INDIANS'  BOO  K 


The  expressions  sa-a  nara"  and  bike  hozhoni  occur  in  many  songs,  usually  at  the  end. 
( According  to  Dr.  Washington  Matthews,  their  literal  translation  is,  “ In  old  age  walking  the 
beautiful  trail.”  This  scholar  further  states  that  tlw  expressions  are  equivalent  to  saying, 
'‘Long  life  and  happiness,”  and  as  a  part  of  a  prayer  the  phrases  are  a  supplication  for  a  long 
and  happy  life.)  The  present  compiler  has  found  the  usual  translation  given  by  the  Indians 
in  the  songs  recorded  by  her  to  be,  “ living  forever,”  or  “ life  unending,”  and  “ universal  hap¬ 
piness,”  or  “ the  happiness  of  all  things.”  The  significance  may  of  course  vary  slightly  in 
different  songs.  In  this  instance  the  meaning  is  that  the  mountain  gives  long  life  and  peace 
to  man,  calling  him  “ grandchild or  “son” 
tsoya  shi ch  ni  la 

grandchild  with  me 

son  ( called  me) 

The  mountain  calls  me  "son.”  (This,  say  the  Navajos,  is  a  blessing.) 


DSICTfL  BIYIN 

Mountain-Songs,  or  Hymns 


Be 

with 

(or,  with  it— the  rain- 
bo’w  is  understood) 


naseya 

I  go  everywhere 
(with  the  rainbow) 


ho-digin 

place  holy 
divine 


if 


ladji  ka’,  or  kat 

yonder  now 

there  (a  word  often  used  to  begin 
a  phrase;  when  used  as  the 
ending  of  a  word,  it  denotes 
emphasis,  as  "indeed") 


Sisnajinni 

The  sacred  mountain  of  the  East.  (According  to  Dr.  Matthews ,  the  name  probably  means  Dark 
Horizontal  Belt,  and  the  mountain  is  presumably  Pelado  Peak,  Bernalillo  County,  New 
Mexico) 

bine  dji  dsic/il-nanta"  sa-a  nara"  bike  hozhoni 

behind  there  mountain  chief  life  unending  happiness  of  all  things 


Tsodsic/il 

The  sacred  mountain  of  the  South.  (According  to  Dr.  Matthews,  the  name  is  from  tso,  great  and 
dsic/il,  mountain.  Called  San  Mateo  by  the  Mexicans,  Mount  Taylor  by  the  Americans) 

Doko-oslid 

The  sacred  mountain  of  the  West.  (According  to  Dr.  Matthews,  the  name  seems  to  contain, 
modified,  the  words  tro,  water,  and  kos,  cloud.  Called  by  the  Americans,  San  Francisco 
M  ountain) 

Depenitsa 

The  sacred  mountain  of  the  North.  (According  to  Dr.  Matthews,  the  name  is  from  depe,  sheep — 
Rocky  Mountain  sheep — and  intsa,  scattered  all  over.  Depenitsa  seems  identical  with  the 
the  San  Juan  Mountains  of  Colorado) 

The  present  compiler  received  from  the  Navajos  slightly  varying  translations  of  the  moun¬ 
tain  names,  but  the  thorough  study  made  by  Dr.  Matthews  of  the  subject,  and  the  authority  of 

his  Navajo  informants,  make  his  version  to  be  preferred. 


Second  song:  Be 

With  (it) 

Third  song:  Be 

With  (it) 

Fourth  song:  Be 

With  (it) 

Fifth  song:  Be 

With  (it) 

Sixth  song:  Be 

With  (it) 


nadesta 

I  am  going  homeward.  (I  shall  go  home¬ 
ward  with,  or  upon,  the  rainbow) 

nikiniya 

I  start  homeward 

na'ishtatl 

I  am  on  my  homeward  way 

nanist$a 

I  am  come  home 

nanishta 

I  sit  down 


\  552] 


APPENDIX 


HOGAN 

BIYIN 

Hogan 

Song, 

or  Hymn 

Tsanti 

hogani 

hozhon 

hogan 

hayiash  beashdje 

behold 

house 

beautiful 

house 

sunrise  under 

yonder 

dwelling 

blessed 

ka’,  or  kat 

Hastyeyalti 

bi 

hogani 

hayolkatli 

now 

name  of  God 

of  Sunrise 

his 

house 

dawn-light,  first  light,  coming 

light  (katli,  coming) 

be 

bi 

hogan 

tan  alc/ikaY 

yotti-iltrassaY 

from 

his 

house 

white  corn 

hides  precious 

made  of 

{from  nata n,  corn,  and  alcAkai’,  white) 

{According  to  Dr.  Matthews ,  yotti,  or  yodi  are  “furs,  skins,  textile  fabrics,  and  such  things 
as  Indians  bartered  among  themselves,  except  food  and  jewels  ”) 


tro-altlanastshini,  or  tro-tlanastshi 

all  waters,  waters  from  many  springs 

{According  to  Dr.  Matthews,  tro-tlanastshi  “is  a  mixture  of  all  kinds  of  water — i.  e. ,  spring- 
water,  snoiv-water,  liail-water ,  and  water  from  the  four  quarters  of  the  world.  Water  used 
to-day  in  some  of  the  Navajo  rites  approximates  the  mixture  as  nearly  as  possible  ”) 

tradetin 

sacred  corn-pollen 

{According  to  Dr.  Matthews,  sacred  pollen  is  obtained  from  various  plants,  but  Indian-corn 
is  the  chief  source  of  supply.  The  offering  of  sacred  pollen  almost  always  follows  or  accom¬ 
panies  prayer,  and  is  a  part  of  religious  rites) 

sa-a  narai*  bike  hozhoni  i-iash 

living  forever  happiness  everywhere  sunset 

everlasting  life 

Hastyehogan  nahotsoY  tarc-alcfttsoi* 

name  of  God  of  Sunset  yellow  after  glow  or  yellow  corn 

evening  twilight  {from  natan,  corn,  and  alc/itsoY,  yellow 


nekliz,  or  inkliz 

gems 

(Nekliz,  or  inkliz,  are  shells  of  all  colors,  turquoise,  cannel-coal,  and  many  other  stones 
prized  by  the  Navajos,  and  from  which  they  make  their  jewels.  The  expression  as  here  used 
signifies  the  gems  used  in  prayer) . 

iltrassaY  tro-piyash 

precious  little  waters 

dew-drops  {literally,  tro,  water ;  piyash,  children) 


HLI1V  BIYIN 

Horse  Song,  or  Hymn 

Johano-ai 

name  of  the  Sun-God, 
the  Bearer  of  the  Sun 


dotlizh 

turquoise 


be  lin,  or  hli n 

his  horse 


Nizho'ko  ani 

from  nizhoni,  beautiful,  happy,  voice 

and  ko,  having 

yotti 

precious  hides  of  buckskin,  buffalo,  beaver,  and  mountain-lion ;  and  “  naskan,  "an  elaborately 
decorated  ancient  woven  blanket  formerly  worn  by  the  Navajos.  The  Navajos  say  that  the 
“  naskan”  was  first  found  in  the  house  of  the  Sun-God 
bahostiel  bakaY  yiki 

spread  out  on  top  on  it  {the  horse  stands  upon 

rich  hides  that  are  spread 
out  beneath  him) 

tshilatra  hozhoni  be 

blossoms,  tips  of  flowers  beautiful  ■  with,  from 

jinic/dtan 

he  {Johano-ai)  feeds  him,  pastures  him  {he  feeds  his  horse  on  the  tips  of  flowers) 

[5531 


THE  INDIANS'  BOOK 


tro-tlanastshini,  or  tro-tlanastshi 

mixed  waters — waters  of  all  kinds:  spring-water ,  snow-water,  hail-water,  and  water  from  the 
four  quarters  of  the  world;  such  waters,  as  nearly  as  possible,  are  used  in  the  Navajo  religious 
ceremonies 

kat  pitistshi  pilch 

fine  particles,  shining  grains  of  mineral  used  with 

in  religious  ceremonies,  possibly  mica 


ka\  or 

now 


when  the  horse  of  the  Sun  -  God  goes,  he  raises  a  dust  of  these 


tradetin 

sacred  pollen  {here,  flower-pollen) 


yan 

on 


tashokishko 

mist,  dust  ( meaning  : 
glittering  particles) 

ba,  or  bi 

his,  his  own 

toitinko 

covered,  hidden  {when  the  horse  runs,  the  sacred  corn-pollen  belonging  to  the  sun  is  all  about 
him,  like  dust,  so  that  he  looks  like  a  mist.  The  Navajos  sometimes  say  that  the  mist  on  the 
horizon  is  the  corn- pollen  offered  to  the  gods) 

k’ean  natelzhishko  kat 

they  increase  now 


pesh 

flint 


ashike 

youth 


NAYE-E  SIN 

Enemy  Song 

t  {War  Song) 

Naye,  from  anaye,  translated  by  Dr.  Matthews,  “  alien  gods” 


tonidineshko 

eternally  { the  herds  of  Johano-ai 
increase  eternally,  growing 
ever  more  and  more) 


suffix,  meaning  person 


shli  Nayenezrani 

I  am  name  of  the  war-god,  the  slayer 


of  the  al 

ien  gods 

shi 

ni 

shli 

pesh 

tilyil  ch 

shi 

I,  me,  my 

person 

I  am  (shi  ni  shli,  1  am) 

flint 

black 

my 

ke 

pesh 

tilyil  ch  siskle  pesh 

tilyil  ch 

shi 

c 

moccasins 

flint 

black  leggings  flint 

black 

my 

tunic 

pesh 

tilyilc^  shi 

tsha 

nolienni 

flint 

black  my 

helm,  hat,  head-dress 

finest  kind  of  trans parent  flint, 

highly  valued  by  the  Navajos 

tshina  shi  yiki  holon  ka\  or  kat  itsiniklizh  din  ikwo 

alive  me  in  it  (?)  within  now  zig-zag  lightning  four  {no  meaning) 

{within  me) 

sitzan  nahatilcft 

from  me  :  coming  back  to  me  {the  four  lightnings  strike,  or  flash  from  me  and  return,  “for,” 
say  the  Navajos,  “lightning  always  looks  as  though  it  flashed  out  and  then  went  back”) 
tsini  nahatil  ch 

there  where  the  lightning  strikes  {word  for  common  use,  tsitte)  and  comes  back  to  me 

nihoka  hastoi 

on  the  earth  old  men:  old  people  {probably  an  ancient  evil 

whe-e-yoni-sin  *  people,  before  the  coming  of  the  Navajos) 

“  the  songs  the  enemy  sings  against  me  ”  {instead  of  fighting,  the  old  people  would  sometimes  sing 
sorcerous  songs  and  pray  evil  prayers  against  their  foe j 
yoya  aiyinilc/i 

under  :  down  :  in  the  bottom  in  the  ground  {there  where  the  lightning  strikes, 

the  old  enemies,  with  their  evil  songs  and 
charms,  are  cast  into  the  ground.  The 
Navajos  say  “he  hurls  them  into  the  ground 
with  the  lightning,  one  after  another”) 


ka ’  sa-a  naraT 

now  :  verily  :  indeed  living  forever 

ka’  binihotsitti 

verily  the  brave  one,  he  whom  all  fear  (tsitti,  fear) 

[5541 


shi  ni  shli 

I  am 


APPENDIX 


TRO  HATAL 

Water  Chant 


(Song  from  a  ceremony  called  the  “  Water-Chant ”) 

Niye  tinishterc 

shic/d 

tsha  huiyish 

tinl  shta 

as  far  as  may  be  seen 

with  me 

coming 

water 

(the  rain  conies  with  me) 

rain 

Niltsan  Dsic/d 

biya 

ra-ashte 

tshi-natan 

rain  mountain 

from 

behind 

corn 

(a  mountain  west  of  Zuhi- 

—the 

(biya,  bottom,  base)  (nata n,  corn  ;  tshi-nata n. 

home  of  the  Rain-Youtli) 

word  used  in  poetry) 

tso  betra 

ka’,  or  kat 

itsiniklizh 

ka’ 

great  among 

now 

zig-zag  lightning  now 

tall  through 

indeed 

big 

verily 

(the  rain  comes  with  me 

through  the  tall  corn) 

itahazla 

betra 

ka' 

.  trash]  esh  dotlizh  ka’ 

streaks  of  lightning 

among 

now 

swallows  blue  now 

through 

enadetla 

betra 

tradetin 

bantoyishtin 

chirping  together 

among 

pollen 

hidden 

through 

covered  all  over 

(through  the  pollen 

,  hidden  in 

pollen) 

DSICT/LYIDJE  HATAL 

On  the  Mountain  Chant 


tsilc&ke 

youth 

Pa  , 

upon 


(. Mountain-Chant ) 
digin 
holy 
nashjin 

black 


Baiyajiltrish 

thereof  he  telleth 

ke 

moccasins 

naska n 

the  word ,  as  here  used ,  is  translated  by  the  Navajos  thus: 
embroidery  (of  quills)."  General  meaning,  the  beautiful 

ka’ 

now  ( probably  inserted  to  fill  out  the  rhythm )  arm 

niltsan  atsoz  niltsarc-bekarc 

rain  feathers  rain  male 

ka’  bi  aatro  sa-a 

now  his  :  her  dro ps  (dro ps  after  rain  :  life  u 

fallen  drops) 


estan  digin 

woman  holy 

kla 

dress  (?) 


j-  second  stanza 


pa 

u  pon 


“  The  pretty  work  on  the  dress  :  the 
adorned  woven  dress 

ka  pa-stran 

bands,  or  bracelets,  of  eagle  feathers 

(  niltsan-baad  )  ,  , 

■j  ■  r  ,  -  second  stanza 
(  ram  female  j 

naraT  bike  hozhoni 

nending  happiness  of  all  things 


DINNI-E  SIN 

Game  Song 
Deer 

Ye  shakaikatal  ka’ 

he  starts,  coming  towards  me  with  it  now 

he  walks  towards  me  with  it — “  it  ”  referring  to  the  song 


aiyasb-tilyil  ch 

a  beautiful  blackbird 
(tilyil ch,  black) 


shi  ni  shli 

Dsic/d-tilyilc/i  bakashte 

ka’ 

ta-adetin 

/  am 

mountain  black  on 

top 

now 

trail  ' 

(Black  Mountain)  (where  the 

trail  starts) 

’shte 

tshilatra 

hozhoni 

bitra 

’shte 

abbreviation  of  yushte 

flowers  of  all  kinds, 

beautiful 

among 

coming 

or  ho-ushte,  coming 

blossoms,  tips  of  flowers 

pretty 

bi 

datro 

bitra  'shte 

ka’ 

bi 

tradetin 

their 

dew-dro  ps 

among  coming 

now 

their 

pollen  ■ 

[555] 


35 


THE  INDIANS’  BOOK 


bitra 

among 


’shte  dinnitshe  bekan 

coming  game  male 

deer 

{ceremonial  word  used  in  poetry  or  rites) 


j  baad  ) 

l  female  { 


second  stanza 


-  second  stanza 


bizedje 

the  kill 


bitzil  deshklashdji  (  deshnash  ) 

foreleg  left  \  right 

quarry 

shinosin  {game  killed  by  the  hunter) 

they  want  me  {meaning,  the  game  choose  to  come  to  me.  The  hunter  is  blessed  and  lucky  in 
hunting) 

NAESTSAN  BIYIN 

Naestsan  Eartk  SonZ'  0r  Hymn 

{according  to  Dr  Matthews,  the  Earth-Mother,  or  the  Woman  Horizontal — estsan,  woman) 
daltso  hozhoni 

all,  everything  beautiful,  blessed,  happy,  perfect 

hozho’ka’ 

from  hozhoni,  beautiful ;  ka’,  or  kat,  suffix,  denoting  emphasis,  meaning  “  indeed,”  or  “  forever” 

naestsan  yatilyilc/i 

the  Earth-Mother  the  Sky-Father  {according  to  Dr.  Matthews, 

literally,  the  Upper  Darkness) 

pilc6  ka'  altsirc  sella  ho-ushte 

with:  facing  one  another  joined  together:  bending  towards  one  another: 

(  complements,  or  helpmates  of  one  another: 

(ho-ushte,  or  yushte,  coming) 

Sisnajinni,  TsodsicAl,  Doko-oslid,  Depenitsa, 

names  of  sacred  mountains  bounding  the  Navajo  land 


tshalyil  ch 

darkness  :  night 

Hastyehogan 

name  of  God  of  Sunset 

tradetin 

sacred  pollen 


anilc/ztani 

The  Ripener  ” 


hayolkatli 

dawn 

natan-alc/ika" 

corn  white 

sa-a  nara'i 

life  unending 

ZUNI 


Hastyeyalti 

name  of  God  of  Sunrise 

natarc-alcAtsoi* 

corn  yellow 

bike  hozhoni 

happiness  of  all  things 


Elu  homa 

beautiful  my 

lovely 

fair 

imuna 

sitting 

{expression  used  in  song) 

liwamani 


yonder 


iyuteapa 

poetic  word  for  flowers 


OCKAYA 

Corn-Grinding  Song 

I 

yallanne  awehlwiawe,  or  awehluyawe 

mountain  clouds 

{cumulus  clouds) 

kwagia  lonan-eshto 

up  in  the  sky  rain-clouds  coming 

{refers  to  the  Rain-Makers) 

awiyane 

coming 


kwai-i 

coming  out 
rising 

’wiyane 

coming 

{one  after  another) 


hawilana 

young  corn  growing  up 
{Laguna  word) 


litla 

here 


Elu 

beautiful 

lovely 

fair 


OCKAYA 

Corn-Grinding  Song 

II 

Sung  by  the  youths  while  the  maidens  grind  the  corn 
honkwa  lonan  iyane 

indeed,  perchance,  or  implying  cloud  coming 

a  wish  “O  would  that — ” 

[5561 


lekwa 

said 


kela 

first 


APPENDIX 


aiyan-towa  pene 

little  corn-ear  on  the  tip  of  the  corn-stalk  talking 

fiolon-ellete  lilthno  kela 

perchance  (?)  here  first 

with  wish  or  hope  implied  this  way 


aiyaye  maihoma  antona 

up  there  at  me  looking 

kiawe-kwai-i  nttwane 

water  coming  out  moving ,  coming 


floods 


going 


OCKAYA 

Corn-Grinding  Song 

III 


Amitola 

tsina-on 

elo 

toma  wahane 

kiawolokia 

pena 

rainbow 

painting 

beautiful  • 

your  corn  (?) 

swallow 

talking 

painted 

lovely 

fair 

wolokia 

kesi 

liwamani  hliton  iyane 

kesi 

liwamani 

swallow 

now 

yonder  rain 

coming 

now 

yonder 

hither 

hither 

hlapi  hanan 

iyane 

letekwan 

atowa 

awowakia 

litla 

white  clouds 

coming 

it  said 

corn 

all  growing 

here 

Chuap 

who 

lonawe 

clouds 


tono  kela 

you  first 

hlitowe 

rains 


SHOKO  OTIIKWE 1 

Corn-Dance  Song 


ite  tsina-o 

make  a  shadow 
draw  a  picture 


amitola  tsawaki 

rainbow  youth 


ma  honkwa  hito 

thus  it  is,  or  thus  it  was 
— or  it  was  in  this  wise 


oletchi  ite  tsina-o 

under  or  behind,  coming  one  after  another ;  make  a  shadow 

modern  use  of  word  means  saddle-  draw  a  picture 

blankets,  or  folds,  one  over  another 


i st  Version. — Who  was  the  first  to  paint  a  picture?  It  was  the  Rainbow-Youth.  It  was 
even  thus:  first  clouds,  then  rain,  one  after  the  other — then  the  Rainbow-Youth  painted  on  them. 

2 d  Version. — Who  was  the  first  to  cast  a  shadow?  It  was  the  Rainbow-Youth.  Ay,  thus 
it  was:  first  clouds,  then  rain — then  from  behind  the  Rainbow-Youth  cast  his  shadow  ( probably 
meaning  that  the  rainbow  is  the  shimmering  reflection  of  the  Rainbow-Youth) . 


THLAH  HEWE2 

Song  of  the  Blue-Corn  Dance 
(Old  Chief’s  Song) 

Elu  shi  lowi-yoteapa  oteapa 

beautiful  see !  cloud  flowers  (archaic  word  for  flowers, 

lovely  or  listen  y  added  for  euphony) 

fair  (exclamation  to  call  attention) 

cloud  flowers  are  blooming  in  the  sky,  or  the  clouds  are  blooming  like  flowers 

mateona  kesi  lowi-yoteapa  awiyane  *  litla 

at  this  time  now  cloud  flowers  coming  here 

(awiya,  coming;  final  ne  added  for  euphony) 

1  (According  to  Mrs.  M.  C.  Stevenson,  of  the  Bureau  of  American  Ethnology,  Washington, 
the  word  “Shoko,”  is  from  “ Shokona,”  the  flute  of  Payatamu,  god  of  music,  flowers  and 
butterflies.) 

2  (According  to  Mrs.  M.  C.  Stevenson,  of  the  Bureau  of  American  Ethnology,  Washington, 
“ Thlah  hewe”  is  a  ceremonial  for  rain  and  the  growth  of  corn.  The  singular  of  the  word  is 
“  Thlalia,”  rabbit-skin  blanket.  The  name  signifies  fecundity.  This  song  is  one  used  in  the 
“  Thlah  hewe  ”  ceremonial,  one  of  the  most  sacred  of  the  Zuhi  festivals.  The  words  are  spelled 
‘ Hlahewe  and  ‘Hla’ha,  according  to  the  Bureau  of  American  Ethnology) . 

[557] 


THE  INDIANS’  BOOK 


LAGUNA 


AIY A-G AIT  ANI  YONI 

Corn-Grinding  Song 

I 

I-o-ho  waitilanni 

{meaningless  vocables )  wonder-water 

yuweh  puniakoekolika  yuweh 

yonder  southwest  yonder 


tzi  washo  iyani-i 

what  life  now 

haniakoekolika 

southeast 


Polaina 

butterfly  ( archaic  word) 

koeshkasi 

yellow 


AIY  A-G  AIT  ANI  YONI 

Corn-Grinding  Song 


II 


hai-ke-o-tzi-o-no-ho 


now  fly  away  to  the  blossoms 


kukanishi 

red 


kasheshi 

white 


kochinishi  ( sung  kohochinishi) 

blue 

ha-na-pu-ra-ni 

now  go !  away ! 


HOPI 


Wf/WCHIM  TAWI 

Wuwuchim  Song 


Yan  itam 

thus  we 

natwanlawa 

they  plant 

mongwi 

chiefs 

chochmingwun 

perfect  {one) 

nikiang 

but :  yet 


tokilnawita  hahlai 

{ all)  night  along  happy 

mama  ayam 

my  fathers  yonder 

kive 

kiva,  in  the 


anangway  na’kalmumuya 

heart  with  wish  well  one  another 

Muyingwa 

Muyingwa,  god  of  germination  and  growth 

mokwa  ka'6 

double  corn-ear 


natwantaqo 

if  {they)  plant  (that) 

bavas  nawita 

field  along 


pom 

that 

sitalwunguni 

blossom ,  tassel,  will  shine 


peyo  amami 

hither  to  them 

heyapo 

scud  underlying  heavy  masses  of  rain-cloud 


namusha 

here 


yoyowunuto 

rain-standing 

o-omawwta 

clouds 


Pf/WI/CH  TAWI 

Sleep  Song 

Puva 

hohoyawu-u 

shahpo  pave-e 

na-ikwiokiango 

sleep 

beetles 

on  the  road  (trail) 

they  carry  one  another 

on  their  backs 


puva 

sleep 


POLI  TIWA  TAWI 


Hqmicita 

corn-blossoms 


Butterfly-Dance  Song 


cingolawu 

wrestle 


mozhicita 

bean-blossoms 


itam  totim 

we  are  youths 

ngoti-timani 

we  shall  chase  each  other 


amami 

with 

ayi 

corn-plant 


peyo 

hither 

manata 

maidens 


nikiang 

but 

tavevol 

butterfly 
amamatani 
it  shall  thunder 


ayi 

corn-plants 


ita 

we 


omi 

upward 

f  558 1 


cingolawu 

wrestle 

shonoka 

among 

manata 

maidens 

ayatani 

shall  send 

nawungwinani 

shall  grow  together 


APPENDIX 


Uyi 

corn-plants 


shonaka 

among 


ANGA 

Anga 

yoki 

rain 


(rain  all  over  the  cornfields) 

yoyang 

raining  ( after  the  rain  is  over) 


KATZINA 

Katzina 

tavevoli 

butterfly 


yala 

behold 


puma 

they 


TAWI 

Song 

manata 

maidens 

tahinpa 

how 


yang  «yi 

all  over  corn-plants 

tuwati 

also 


shonaka 

among 

tataw-yayawina 

singing  enjoy  themselves 


nanguyimani 

chasing  one  another 

natayawina 

flitting  about 
(enjoying  themselves) 

yam  puma 

thus  they 

yanga 

all  over  :  there 


KOROSTA  KATZINA  TAWI 

Korosta  Katzina  Song 

volim  a 

butterflies 

yamm  a 


pitzangwa 

faces 


Sikya 

yellow 

manata  talasi 

maidens  pollen 

tave-nangayimani  shakwa 

bright ,  chasing  one  another  blue 

brilliant 

mozhisi  (etc.,  as  before) 

bean-blossoms :  blossoming  beans 

hamisi  manata 

corn-blossom  :  blossoming  corn  maidens 

tatangayata  tokiyayawintani 

wild  bees  humming 

amah  ayi  amunawit 

your  plants :  field  over 

tawanawita  amah 

all  day  (tawa,  sun  ;  'nawita,  over)  your 


hamisi 

corn-blossom  :  blossoming  corn 


timakiang 

painted 

volim  a 

butterflies 


amanawita 

over 


(etc.,  as  before) 


amanawit 

over 


yoi-hoyoyotimani 

rain  on-moving 


yoi-amamatimani 

rain-thunder 

uyi 

field 

tawanawita 

all  day 


HE-HEA  KATZINA  TAWI 

He-liea  Katzina  Song 

Hamisi  ayi  manata  mozhisi 

corn-blossom  plant  maidens  bean-blossom 

siqolova  bavatalawinani  shakwa 

patch,  cluster  water  will  shine,  the  wet  earth  will  blue 

shine  with  water  after  rain 

hapi  me  hesiqolova  sikia  voli 

behold  patch,  or  cluster,  of  yellow  flowers  yellow  butterflies 

(hesi,  a  certain  yellow  flower) 

mozhisiq*6t'6va  shakwa  voli 

patch,  or  cluster,  of  bean-blossoms  blue  butterflies 


uyi 

plant 

omawutu 

clouds 

nangSyimani 

chase  one  another 


nangoyimam 

chase  one  another 


N  ana-hopipaqo 

now  from  the  east  (hopaqS,  east) 
nana  hopipaqS 

now  from  the  east 


HEVEBE  TAWI 

“  Hevebe  Song 

I 

qoyangwanoka 

the  white  dawn 

sikiangwunuka 

the  yellow  dawn 

(559] 


kayiva 

has  arisen 
kayiva 
has  arisen 


THE  INDIANS'  BOOK 


angwu 

so  now 


hawarn 

an  expression  of  politeness,  analogous  to  the 
English  “  and,  it  please  ye  ” 


hawiwokialyata 

arouse,  bestir  yourself 


itamumi 

kuyivawicha 

itamumi 

umuh 

kuyap 

to  us  ;  at  us 

come  look 

to  us 

your 

cup  ;  vessel 

kuyi 

wutaya 

iyo 

hevebeta 

peyowi 

of  water 

pour 

cold 

a  kind  of  cloud  ( ?) 

come 

wuta 

qoyangwan-talao 

tiyo 

sikiangwun-talao 

tiyo 

pour 

the  white  dawn-light 

youth 

the  yellow  dawn-light 

youth 

tuhiyongva  to 

nahiongva  to 

we  please  every  one,  or,  we  surprise  others 

yanikitiwa 

thus  it  has  been  said,  or,  thus  dwell 


we  please  ourselves,  or,  we  surprise  ourselves 

pavon-mamantu 

corn-stalk  maidens,  or,  shower-maidens 


Hevebeta  eyowi  wuta 

a  kind  of  cloud  (?)  come  pour 


Shiwana 

( Laguna  word  used  for  the  /masked  dancers,  who  probably 
impersonate  clouds,  or  cloud  deities  ;  also  means  cloud) 
anoshkai'  nuishi  o-ou-ya-a 

(archaic  Ho  pi  or  foreign  word  make  of  me  a  cluster  of  flowers 

translated  by  the  Hopis,  (shi,  or  si,  means  flower,  or 

"Come,  bathe  me")  blossom) 


HEVEBE  TAWI 

“  Hevebe  Song 

II 

tovi  chi 

(archaic  or  foreign  :  translated,  “  the  clouds  are  moving 
here,”  or  “  the  cloud  deities  are  seated  in  the  sky  ”) 

Shi  -wa-wai-ya  wuta 

(corruption  of  Shiwana)  pour 


nuipa  o-oo-ya-a 

make  of  me  a  cluster  of 
showers  (pa  is  water) 


Hao 

hail 

omawats 

clouds 


mam  u 

my  fathers 

wawai 

call :  want 


nanakwushani 

will  start  to  come 


peyo 

hither 


yoi-hoyoyotimani 

rain-moving  will  move 

yang 

far  and  near 


LENE  TAWI 

Flute  -  Sony. 


mashilenangwu 

gray  flute 

inam  u 

my  fathers 

yoi-umumutimani 

rain-thunder  it  shall 


mongwitu  nananivo 

chiefs  at  the  four  world-points 

yoi 

rain 


peyo 

hither 


oyi 

the  plants 

u  yi 

the  plants 


nanamvaqo 

from  the  four  world- points 

yanga 

yonder  moving  along,  or, 
all  over,  here,  there 

shonaka  hakame 

amo  ng  everywhere 

shonaka  bava-tala-winani 

among  the  earth  will  water-shine 


CONTRIBUTORS 


WABANAKI 


KIOWA 


Bedagi,  Big  Thunder. 

Joseph  Nicolar. 

Blamswe-Zozep  Tene,  Francis  Joseph  Dana. 
Asawhis,  John  Salis. 

DAKOTA 


Owik'uyairc,  The  Home-Comer 
Apiatan,  Wooden  Lance. 
T‘e-ne-t‘e,  Eagle  Chief. 
Sah-mount,  Samon. 
Guwekondgieh,  Black  Wolf. 
Potine,  White  Beaver. 


Maza  Blaska,  Flat  Iron. 

Tatanka-Ptecila,  Short  Bull. 
Matoisto-Nakipin,  Bear- Arm-Necklace. 
Wicapi,  Star. 

Wambli-Waste,  Good-Eagle. 

Tasunke-Hinto,  Blue  Horse. 

Tasurcke-Ciqala,  Little  Horse. 

Capa-Tanka,  Big  Beaver,  Frank  Goings. 
Tatarcka-Hinapawi,  Buffalo- Appearing 
Wicapi-Wakarc,  Holy  Star,  Julia  Yellow-Hair. 
Tasunke-Hinsa,  Sorrel  Horse. 
MaKpiya-Tatanka,  Sky  Bull. 

Mato- W ankantuya,  High  Bear. 

Huhuseca-ska,  White  Bone. 

Zintkala  Maza,  Iron  Bird. 

Mato-Nazin,  Standing-Bear. 


WINNEBAGO 

Hinook  Mahiwi  Kilinaka,  Angel  De  Cora. 
Chash-chunk-a,  Wave,  Peter  Sampson. 
Nek-hu-wi-ka,  South  Wind,  Jacob  Russell. 
Wa-che-li-man-iga,  Surly  Walker,  James  Mal¬ 
lory. 

KWAKIUTL 
Klalish,  Charles  James  Nowell. 

PIMA 

Visak-Vo-o-yim,  Hovering  Hawk. 

Katarina  Valenzuela. 

Hal  Antonio. 

Ataloya. 


PAWNEE 

Sakuruta,  Coming  Sun,  James  R.  Murie. 
Letakots-Lesa,  Eagle  Chief. 

Lesa-Kipiliru,  Young  Chief. 

Lukitawika  -  wari.  Rider  -  Around  -  the  -  Great- 
Heaven-Domed-Lodge. 

CHEYENNE 

Wihu-Hwaihu-O-Usz,  or  Hiamovi,  High  Chief, 
or  High  Wolf. 

Honihi- W otoma,  W olf-Robe. 

Nahios-si,  Three  Fingers. 

Moc/ita-Wontz-tz,  Starving  Elk. 

Wihunahe,  Chief  Woman. 

Mowihaiz,  Magpie,  Leonard  Tyler. 

Wupcha-e,  White  Cap. 

Wowesta,  White  Buffalo  Woman. 

Hotuwasu,  Little  Buffalo  Bull. 


ARAPAHO 

Nakos,  Sage. 

Wageoh,  Maud  Shawnee. 
Nawadek,  Susie  Sage. 
Nabilase,  Jessie  Sage. 

Gelbini,  Cappie  Webster. 
Waatina  Bichut,  Black  Shirt. 


APACHE 

Geronimo. 

Fleming  Lavender. 

Rivers  Lavender  (Gumanchia.) 


MOJAVE-APACHE 

Hukutgodga. 

Somurturgigu-a. 


CTiiparopai. 


Ema-liya. 


YUMA 

ZUNI 

LAGUNA 


Tuari,  Young  Eagle. 

Idima,  John  Corn. 

HOPI 

Lololomai,  Very  Good. 
Tawakwaptiwa,  Sun-Down-Shining. 
Lahpu,  Cedar-Bark. 

Koianimptiwa. 

Masahongva. 

Kuwanyisnim. 

Masaveimah. 

Kavanghongevah. 

Gashoienim. 


Also  various  Indians  from  the  Navajo  tribe,  and  from  the  villages  of  Acoma  and  San  Juan. 


INDEX 


ABBREVIATIONS 


Ac. 

Acoma 

Ki. 

Kiowa 

PI.  Plains  Indians 

Ap. 

Apache 

Kw. 

Kwakiutl 

Pu.  Pueblo  Indians 

Ar. 

Arapaho 

L. 

Laguna 

S.  San  Juan 

C. 

Cheyenne 

M. 

Moj  ave- Apache 

Wa.  Wabanaki 

D. 

Dakota 

N. 

Navajo 

Wi.  Winnebago 

f. 

foot-note 

Pa. 

Pawnee 

Y.  Yuma 

H. 

Hopi 

Pi. 

Pima 

Z.  Zuni 

A 

Acoma,  447. 

Agna-Iyanke  (Runs  Beside),  Fox  warrior  (D.), 
51. 

Agriculture,  Agricultural  (D.),  37,  38;  (Pa.), 
94;  (Ar.),  198;  (Pi.),  313;  (M.),  329;  (Y.), 
339;  (Pu.),  425,  426;  see  also  subject-matter 
on  pages  (Wi.),  244;  (H.),  473. 

Aiya-Gaitani  Yoni,  Corn-Grinding  Song  (L.), 
451,  452,  464,  466,  558. 

Alili  (N.),  meaning  of,  366  (f.). 

Alilorani  (Lightning  Youth),  mythic  personage 
(N.),  366. 

All- Waters  (N.),  357. 

Anaye,  alien  deities  (N.),  359,  360. 

Anga  Katzina  Song  (H.),  see  Anga  Katzina 

Tawi. 

Anga  Katzina  Tawi,  Anga  Katzina  Song  (H.), 
483,  505,  559. 

Anglo-Saxon  Influence,  see  subject-matter  on 
pages  (Pi.),  313,  314;  (Pu.),  426,  and  also 
Song  of  the  Hop!  Chief,  474. 

Animals,  Beasts,  in  song,  story,  myth,  custom, 
or  belief  (Va.),  4,  11;  (PI.),  31,  32;  (D.),  59, 
61,  62 ;» (Pa.),  96,  97,  101;  (C),  159;  (Ki.), 
228;  (Wi.),  244,  248,  249,  251,  253;  (Kw.), 
298,  300,  301,  302;  (N.),  361,  369;  (H.), 
494;  see  also  Antelope,  Bear,  Buffalo,  Deer, 
Elk,  Frog,  Frog-folk,  Horse,  Moose,  Mouse, 
Otter,  Wolf;  compare  also  Birds,  Reptiles, 
Insects* 

Ant  (Wi.),  251,  253;  (Pi.),  315. 

Antelope  (Ki.),  221,  226,  227,  228. 

Antelope  Song  (Ki.),  see  T'apko  Daagya. 

Ant-man  (Wi.),  251,  252. 

Aotzi  No-otz,  Song  of  Victory  (C.),  155,  156, 
157,  174,  176,  178,  544, 


Apaches,  323. 

- ,  singing  of,  xxviii. 

Apiatan  Ki.,  chief,  contributor,  222,  223,  224, 
230,  561. 

Arapahos,  195. 

- ,  mescal  religion  among,  162. 

Arch-Above-the-Earth  (Rainbow)  (Pa.),  102. 
Arowp,  Song  of  the  Mocking-Bird  (Y.),  340, 
342,  551. 

Asawhis,  John  Salis,  Wa.  contributor,  7,  15,  16, 
24,  25,  26,  561. 

Ataloya  Pi.  contributor,  Pima  title-page  facing 
p.  310,561.. 

At  Jus  Tirawa  (Pa.),  see  Tirawa. 

A’wonawifona,  Z.  Supreme  Being,  493  (f.). 

B 

Baby  Song  (Lullaby)  (C.),  see  Meshivotzi 
No-otz. 

Bahana  (H.),  name  for  an  American  white 
person,  493. 

Bahos,  prayer-sticks  (H.),  492,  493. 

Bear  (D.),  61;  (Pa.),  96  (f.),  97,  98,  104. 

Bear  -  Arm  -  Necklace  (D. ),  see  Matoisto- 
Nakipin. 

Bear  Society  (Pa.),  96,  104,  107. 

Bear  warriors  (Pa.),  104  1C5. 

Beasts,  see  Animals. 

Bedagi  (Big  Thunder),  Wa.  contributor,  3,  7, 
11,  561. 

Bedouins  of  America,  Navajos,  so-called,  347. 
Bee  (N.),  371;  (H.),  484. 

Beetle  (H.),  480. 

Begging-Song  (Ki.),  see  Koalda  Daagya. 

Big  Beaver  (D.),  see  Capa-Tanka. 

Big  Thunder  (Wa.),  see  Bedagi. 

Bike  hozhoni,  prayer-phrase  (N.),  372,  552. 


[563] 


THE  INDIANS'  BOOK 


Birds,  in  song,  story,  myth,  custom,  or  be¬ 
lief  (D.),  61;  (Pa.),  96,  97,  98;  (C.),  161; 
(At.),  201;  (Wi.),  263);  (Pi.),  317;  see  also 
Bluebird,  Blackbird,  Chicken-hawk,  Crow, 
Eagle,  Hawk,  Humming-bird,  Hu-huk, 
Swallow,  Thunder-Bird;  compare  also  Ani¬ 
mals,  Reptiles,  Insects. 

Black  Bear,  mythic  Star  Beast  (Pa.),  101. 

- ,  Wi.  scout,  259. 

Blackbird  (N.),  369,  370. 

Black  Mountain  (N.),  369,  370. 

Black  Shirt  (Ar.),  see  Waatina  Bichut. 

Black  Star,  mythic  Star  Beast  (Pa.),  101. 

Black  Thunder,  mythic  personage  (N.),  359. 

Black  Wolf  (Ki.),  see  Guwekondgieh. 

Blamswe-Zozep  Tene,  Francis  Joseph  Dana, 
Wa.  contributor,  7,  9,  10,  14,  21,  561. 

Bluebird  (Pi.),  317. 

-  Song  (Pi.),  see  Chuhtek-Ohohik 

Nieh. 

Blue  Horse  (D.),  see  Tasunke-Hinto. 

-  Thunder,  mythic  personage  (N.),  359. 

Boas,  Dr.  Franz  298  (f.);  535. 

Bow,  the  Sacred  (C.),  see  Sacred  Bow. 

Brule,  members  of  the  band  contributors  of 
D.  songs. 

Buffalo,  xxi.;  (PL),  31  (f.);  (D.),  38,  39,  41, 
42,  53,  58,  61;  (Pa.),  94,  99,  102,  112;  (C.), 
147,  150,  156;  (Ar.),  197;  (Wi.),  244,  248. 

Buffalo- Appearing  (D.),  see  Tatanka-Hina- 
pawi. 

Buffalo  Chief  (Wi.),  253. 

Buffalo-Dance  (C.),  152. 

Buffalo-Dance  Song  (C.),  see  Mohoeva  No-otz. 

Bundles,  the  Sacred  (Pa.),  see  Sacred  Bun¬ 
dles. 

Butterfly  (L.),  461.  462;  (H.),  475,  484,  485. 

Butterfly-Dance  (H.),  481. 

Butterfly-Dance  Song  (H.),  see  Poli  Tiwa 
Tawi. 

Butterfly-girls  (H.),  481. 

Butterfly-maidens  (H.),  482,  483,  486. 

C 

Caddos,  Pawnees  allied  to,  93. 

Capa-Tarcka,  Big  Beaver,  Frank  Goings,  D. 
contributor,  56,  561. 

Casa  Grande,  as  ruins  of  ancient  Pi.  build¬ 
ings,  313. 

Ceremony,  Ceremonial,  xxv.;  (Wa.),  7;  (PL), 
31,  33;  (D.),  56,  59,  61;  (Pa.),  96,  107,  112, 
113;  (C.),  151,  154,  161,  163,  164,  165; 
(Ar.),  198,  199,  201;  (Ki.),  223,  228;  (Wi.), 
254,  255,  257;  (N.),  348,  349,  352,  361,  365, 
366,  367,  371;  (Pu.),  425,  426;  (H.)  477, 
479,  484,  488,  489,  491. 

Ceremony  cf  the  Offerings’  Lodge  (Ar.),  see 
Hassehawu. 

Chants,  name  for  N.  ceremonies,  365. 

Chash-chunk-a,  Wave,  Peter  Sampson,  Wi. 
contributor,  244,  253,  257,  260,  264,  266, 
268,  275,  278,  280,  288,  561. 

Chawi  band  of  Pawnees,  song  belonging  to, 

111. 


Cheyenne  Life  in  the  Olden  Time,  150. 

Cheyennes,  147. 

- ,  mescal  religion  among,  162. 

Chicken-hawk  (Wi.),  263. 

Chief  of  Mountains  (N.),  352,  354,  355,  356. 

Chief  Woman  (C.),  see  Wihunahe. 

Chiefs'  Society  (PL),  31;  (C.),  152. 

CTiiparopai,  Y.  contributor,  339,  340,  342, 
561. 

Chuhtek-Ohohik  Nieh,  Bluebird  Song  (Pi.), 

317,  319,  551. 

Chuhwuht,  Song  of  the  World  (Pi.),  315,  316, 

318,  551. 

Cibola,  seven  cities  of,  identical  with  Z.  habi¬ 
tations,  429. 

Civilization  of  primitive  man,  xxx. 

Club  Society  (Ar.),  202. 

Cochimis,  as  one  of  the  Y.  tribes,  339. 

Cocopas,  as  one  of  the  Y.  tribes,  339. 

Comanche  Song  (Ar.),  see  Hache-hi  Naad. 

Comanches,  mescal  religion  among,  162. 

- ,  Kiowas  occupy  reservation  with,  222. 

Coming  Sun  (Pa.),  see  Sakuruta. 

Contributors,  see  list  of,  561. 

Corn,  male  and  female  (N.),  371. 

- ,  as  mother  (Pa.),  96;  see  also  Mother- 

Corn. 

Corn  -  blossom  maidens  (H.),  see  Corn- 
maidens. 

Corn-Dance  Song  (Z.),  see  Shoko  Otiikwe. 

Corn-grinding,  xxii.;  (Z.),  429. 

Corn-Grinding  Song  (L.),  see  Aiya-Gaitani 
Yoni. 

- Songs  (Z.),  see  Ockaya. 

Corn- maidens,  corn  -  plant  maidens,  corn- 
blossom  maidens,  maiden  plants,  virgin 
corn  (H.),  481,  482,  484,  485. 

Corn-meal,  sacred,  see  Sacred  corn-meal. 

Corn-People  Gatzina  Songs  (Ac.),  see  Yaka- 
Hano  Gatzina  Yoni. 

Corn-plant  maidens  (H.),  see  Corn-maidens. 

Coronado  (N.),  347. 

Coyote  Warrior-Song  (Pa.),  see  Skiriki. 

Cradle  (Kw.),  303. 

Cradle-Board  (Pa.),  101,  102. 

Cradle-Board  for  the  Morning-Star  Clan  (Pa.), 
facipg  p.  102. 

Cradle-Song  (Kw.),  303,  307. 

Crow  (Pa.),  115;  (C.),  161;  (Ar.),  201. 

Crow-Dance  (Ar.),  201. 

Crow-Dance  Song  (Ar.),  see  Ho  Nawad  Naad. 

Crow  Indians,  Ki.  relation  with,  221. 

Cushing,  Frank  Hamilton  (Z).,  429  (f.),  430 
(f.), 

D 

Dakotas,  32. 

Dana,  Francis  Joseph  (Wa.),  see  Blamswe- 
Zozep  Tene. 

Dance,  Dances,  Dancing  (Wa.),  8,  10;  (D.), 
42,  43,  44,  45,  46,  48,  55,  59,  60,  61;  (Pa.), 
96,  97,  113,  115,  116;  (C.),  151,  152,  157, 
162;  (Wi.),  245,  255,  257;  (Kw.),  300,  301, 
302;  (M.),  329;  (N.),  367;  (Z.),  430;  (H.), 
476,  481,  482,  483,  484. 


INDEX 


Dance,  Dances,  Dancing  (Wi.),  255;  see  Hi-wa- 
shi-da. 

Dance-Song  (Ap.),  328;  (M.),  334,  335. 

- of  the  Fox  Society  (D.),  see 

Tokala  Wacipi  Olowan. 

Dance-Songs  (Wa.),  9. 

- from  the  Ceremony  of  the  Night 

Chant  (N.),  see  Kledzhi  Hatal. 

Darkness  Maiden,  mythic  personage  (N.),  351. 

Dawnlight- Youths  (H.),  486,  487. 

Dawn  Maiden,  mythic  personage  (N.),  351. 

-  Youth,  mythic  personage  (N.),  351. 

Death  (D.),  50,  61;  (Pa.),  113,  114;  (C.),  152, 
153,  154. 

Deathless  One,  mythic  personage  (M.),  331, 
332,  333. 

- - and  the  Wind,  story  (M.),  331. 

De  Cora,  Angel  (Wi.),  see  Htnook  Mahiwi 
Kilinaka. 

Deer  (Wi.),  244,  248;  (N.),  369,  370. 

Depenitsa,  sacred  mountain  (N.),  351,  353, 
372,  552. 

Digini,  “  Divine  Ones,”  mythic  personages 
(N.),  367. 

Digini-ossini,  the  Holy  Believer,  mythic  per¬ 
sonage  (N.),  366. 

Dine,  “  The  people  ”  N.  name  for  them- 
selves  347* 

Dinni-e  Sin,  Hunting-Song  (N.),  369,  370, 
413  555. 

Divine  Beings  (Pa.),  99;  (N.),  365. 

Divine  Ones  (N.),  352,  367. 

Dog  (D.),  58,  59;  (C.),  150. 

- Feast  (D.),  59. 

- Society  (Pa.),  112. 

- Soldiers  (PI.),  31;  (D.),  50. 

Doko-oslid,  sacred  mountain  (N.),  351,  353, 
372  552. 

Dorsey,  Dr.  George  A.  (Ar.),  198. 

Drawings  by  Indians,  xxii.,  xxviii. 

- by  High  Chief,  149. 

Dream,  Dreams,  Dreamer,  Dreaming  (PL), 
31;  (D.),  43,  60,  61;  (Pa.),  109,  112,  114; 
(C.),  158,  159,  161;  (Ar.),  200,  202;  (Ki.), 
226;  (Wi.),  261,  263;  (Pi.),  314;  compare 
also  Spirit,  Trance,  Vision. 

Dry-paintings,  sand- pictures,  so-called  (N.), 
367. 

Dsic/il  Biyin,  Mountain-Song  (N.),  352,  353, 
354,  355,  356,  377,  552. 

- - ,  Mountain-Song  (Hozhonji  Song), 

(N.),  350,  352,  374,  551. 

DsicAlyidje  Hatal,  Song  from  the  Ceremony 
of  the  Mountain-Chant  (N.),  366,  368,  408, 
555. 

Dwellings  (Wa.),  3;  (PL),  39  (f.);  (Pa.),  94; 
(Ar.),  197;  (Ki.),  222;  (Kw.),  298;  (N.), 
348?  (Pu.),  425,  461. 


E 

Eagle,  xv.;  (Pa.),  97,  98;  (C.),  165. 

-  Chief  (Pa.),  see  Letakots-Lesa. 

- (Ki.),  see  Te‘-ne-t‘e. 

Eagle’s  song,  xv. 


Eagle  symbol,  xv. 

Earth,  as  the  common  mother  (Wa.),  11;  (D.), 
41;  (N.),  372;  compare  also  Story  of  the 
First  Mother  (Wa.),  and  Stories  of  Wash- 
ching-geka,  the  Little  Hare  (Wi.). 

Earth-Maker  (Wi.),  see  Ma-o-na. 

- ,  Song  to  the  (Wi.),  see  Ma-o-na. 

Eaton,  George,  a  Wi.  Indian,  258. 

Echo,  in  myth  (Kw.),  302. 

Echo  Mask  (Kw.),  301. 

Education  of  Indians,  national  policy  for, 
xxxiii.;  see  also  Indian  children  at  govern¬ 
ment  boarding-school  (D.). 

Elephant  (Wi.),  248,  249. 

Elk  (D.),  40;  (Wi.),  244,  248,  251. 

—  Chief  (Wi.),  253. 

Ema-liya,  Z.  contributor,  Zuni  Indians’  Title- 
page,  facing  p.  426;  561. 

Emergence,  Navajo  Story  of  the,  350  (f.); 
compare  also  Story  of  Gomoidema  Pokoma- 
Kiaka  (M.). 

Estsan  Digini,  Holy  Woman  (N.),  366. 

Estsan-Natlehi,  deity  (N.),  359,  360. 

Evening  Star  (Pa.),  94,  99,  100,  101,  102,  103, 
104,  107. 

F 

Fable  (Wi.),  see  Wai-kun. 

Father,  Prophet  of  the  Ghost-Dance  Religion 
(D.),  43,  44,  45,  46,  47,  48?  (Pa.),  112;  see 
also  Prophet. 

Father-Crow  (Ar.),  201. 

Father-Hawk  (Pa.),  97;  (f.),  107,  108. 

Father-Sky  (N.),  372. 

Father-Sun  (Pa.),  116;  (Ar.),  198. 

Female-Rain  (N.),  365,  368. 

First-Man,  mythic  personage  (N.),  351,  371. 

First  Mother  (Wa.),  4. 

First- Woman,  mythic  personage  (N.),  351, 
371. 

First  Woman  who  made  the  Son  of  God  (M.), 
see  Story  of  Gomoidema  Pokoma-Kiaka. 

Fiske,  John,  quotation  from,  533. 

Flat  Iron,  D.  chief,  see  Maza  Blaska. 

Fletcher,  Alice  C.,  xxii.  (f.) ;  (Pa.),  102,  107(f.). 

Flint  (Pa.),  103;  (Wi.),  248,  249;  (N.),  360,  363, 
364. 

- Youth  (N.),  363,  364. 

Flute  (Wi.),  261;  (Z.),  430. 

- Ceremony  (H.),  489. 

- Song  (H.),  see  Lene  Tawi. 

Fly,  Flies  (Wi.),  246;  (M.),  333. 

Foolish  One  (Wi.),  see  Wak-chung-kaka. 

Fort  Laramie,  treaty  signed  at  (C.),  148. 

Fox  (D.),  51. 

- Men  (PL),  31. 

- Society  (D.),  61. 

Frog  (Kw.),  299,  300,  302. 

Frog-folk  (M.),  330. 

G 

“  Gaigwu,”  Ki.  name  for  the  tribe,  221. 

Game  of  Barter  (Wa.),  7. 

Games  (Wa.),  7;  (G),  158,  161,  162;  (Ar.),  201, 
202;  (M.),  332. 


[5651 


THE  INDIANS'  BOOK 


Gashoienim,  H.  contributor,  Pueblo  Indians’ 
Title-page,  facing  p.  422;  Hopi  Indians’  Title- 
page  facing  p.  470;  561. 

Gatzinas,  mythic  personages  (Ac.),  447. 

Gelbini,  Ar.  contributor,  201,  211,561. 

Geronimo,  Ap.  chief,  contributor,  323,  324,  325, 
327,  561. 

“  Geronimo’s  Story  of  His  Life  ”  (Ap.),  324 

(f.) 

Ghost-Dance  (D.),  41;  (Ar.),  198,  223;  see  also 
Spirit-Dance. 

“  Ghost-Dance  Movement  ”  (D.),  41,  44. 

Ghost-Dance  Song  (Ar.),  see  Kainawad  Naad. 

- - (D.),  see  Wanagi  Wacipi  Olo- 

wan;  (Pa.),  see  Kehare  Katzaru. 

“  Ghost-Shirts  ”  (D.),  44. 

Glooscop  (Wa.),  12  (f.). 

Goc/zoti  Naad,  Hand-Game  Song  (Ar.),  201, 
202,  213,  546. 

God  (D.),  42;  (C.),  164,  165. 

Goings,  Frank  (D.),  see  Capa -Tanka.* 

Gomda  Daagya,  Wind-Songs  (Ki.),  223,  224, 
225,  230,  231,  232,  546. 

Gomoidema  Pokoma-Kiaka  (M.),  330. 

Good-Eagle  (D.),  see  Wambli-Waste. 

Government,  civic  (Pu.),  426. 

Gray  Flute  Society  (H.),  489. 

“  Great  Holy-Mystery  ”  (PI.),  32. 

Great  Mystery  (PL),  32;  (D.),  38,  39,  53;  (C.), 
151,  156,  159;  see  also  Great  Spirit. 

Great  Spirit  (Wa.),  4,  6,  11,  12;  (PL),  32;  (D.), 
39;  see  also  Great  Mystery,  Wakazz -Tanka 
(D.),  Tirawa  (Pa.),  Mac/za -  Mahaiyu  (C.), 
Ichebeniatha  (Ar.),  Ma-o-na  (Wi.),  Yusun 
(Ap.),  He-She  (Z.). 

Great  Star,  Pa.  name  for  the  Morning  Star,  99. 

Great  Waters  (N.),  364. 

Gros  Ventres,  subtribe  of  the  Arapahos,  197. 

Gumanchia,  Rivers  Lavender,  Ap.  contributor, 
Apache  Title-page  facing  p.  320,  561. 

Guwekondgieh,  Black  Wolf,  Ki.  contributor, 
233,  561. 

Gwu  Daagya,  War-Path  Song  (Ki.),  229,  240, 
548. 

H 

Hac/zayac/zu  Naad,  Song  of  the  Mescal  Rite 
(Ar.),  212. 

Hac/ze-hi  Naad,  Ja  chu  Naad,  Wolf -Song  or 
Comanche-Song  (Ar.),  199,  206,  545. 

Hako,  a  Pawnee  Ceremony,  107  (f.). 

Hal  Antonio,  Pi.  contributor,  317,  320,  561. 

Haliotis  Maiden,  mythic  personage  (N.),  351. 

Hariacha-thiak,  Sitting  Buffalo-Bull,  Ar.  con¬ 
tributor,  200. 

Hand-Game  Song  (Ar.),  see  Goc/zoti  Naad. 

- Songs  (C.),  see  Nu-u-sinim. 

Hao-Wari  (Pa.),  128. 

Hard  Things,  mythic  obstacles  (Pa.),  100. 

Hasjelti  Dailjis,  ceremonial  of  (N.),  365  (f.) 

“  Hassehawu,”  Ceremony  of  the  Offerings’ 
Lodge  (Ar.),  198. 

Hasse-hi  Naad,  Song  of  the  Buffalo-Hide  Cere¬ 
mony  (Sun-Dance  Song)  (Ar.),  198,  199,  203, 
204,  545. 


Hastyehogan,  deity  (N.),  356,  373. 

Hastyeyalti,  deity  (N.),  356,  369,  373. 

“  Hatal,”  N.  word  for  chant,  348. 

Havasupais,  as  one  of  the  Y.  tribes,  339. 

Hawk  (C.),  159. 

Healing  (PL),  32,  33;  (D.),  38,  39,  40,  52,  53, 
61;  (C.),  151,  159. 

He-hea  Katzina  Song  (H.),  see  He-hea  Katzina 
Tawi. 

- - Tawi,  He-hea  Katzina  Song 

(H.),  485,  517,  559. 

“  He-lush-ka  ”  (Wi.),  257. 

He-lush-ka  Nawan,  Warrior-Songs  (Wi.),  258, 
259,  260,  275,  278,  280,  282,  549. 

He-She,  Z.,  Supreme  Being,  493  (f.) 

Hevebe  (H.),  486  (f.). 

Hevebe  Songs  (H.),  see  Hevebe  Tawi. 

- Tawi,  Hevebe  Songs  (H.),  486,  487,  488, 

523,  526,  560. 

Hevebeta  (H.),  487,  488. 

Heyapo  cloud  (H.),  479. 

Hiamovi,  or  Wihu-hwaihu-o-usz,  High  Chief,  or 
High  Wolf,  C.  Chief,  contributor,  “  Things  of 
the  Olden  Time,”  frontispiece.  Plains  Indians’ 
Title-page,  facing  p.  28;  149,  150,  151,  152, 
166,  168,  169,  171,  222. 

Hichaac/zuthi,  Song  of  the  Club  Society  (Ar.), 
202,  215,  546. 

High  Bear  (D.),  see  Mato-Wazzkantuya. 

High  Chief  (C.),  see  Hiamovi. 

- Wolf  (C.),  see  Hiamovi. 

Hinanatina,  the  Arapaho  people  proper,  197. 

Hinimiyotzu,  Song  of  the  Bow  and  Arrow 
Society  (C.),  171. 

Hinook  Mahiwi  Kilinaka,  Angel  De  Cora,  Wi. 
contributor,  xv.,xxxiii.;  Wabanaki  Title-page, 
facing  p.  xxxiv.;  Plains  Indians’ Title-page, 
facing  p.  28;  Dakota  Title-page,  facing  p.  34; 
Pawnee  Title-page,  facing  p.  90;  Cheyenne 
Title-page,  facing  p.  144;  Arapaho  Title-page, 
facing  p.  194;  Kiowa  Title-page,  facing  p. 
218;  Winnebago  Title-page,  facing  p.  240; 
Kwakiutl  Title-page,  facing  p.  294;  South¬ 
western  Indians’  Title-page,  facing  p.  308; 
Pima  Title-page,  facing  p.  310;  Apache  Title- 
page,  facing  p.  320;  Navajo  Title-page,  facing 
p.  344;  Pueblo  Indians’  Title-page,  facing  p. 
422;  Zuni  Indians’  Title-page,  facing  p.  426; 
San  Juan  and  Acoma  Title-page,  facing  p. 
444;  Laguna  Title-page,  facing  p.  458;  Hopi 
Title-page,  facing  p.  470;  561. 

History  of  the  Spirit-Dance,  41. 

Hi-wa-shi-da,  Dance  following  the  Holy  Song 
(Wi.),  256,  273,  549. 

Hlin  Biyin,  Song  of  the  Horse  (N.),  360,  361, 
362,  389,  553. 

Hogan,  N.  dwelling,  348,  356,  357,  358,  367. 

- Biyin,  Song  of  the  Hogans  (Hozhonji 

Song)  (N.),  356,  357,  382,  553. 

Hohiotsitsi  No-otz,  Morning  Song  (C.),  153,  172, 
544, 

Hocoka,  centre  of  the  camp-circle  (D.),  49. 

Holy  Believer,  mythic  personage  (N.),  366,  367. 

- - -  Man,  Holy  Men  (PL),  32,  33;  (D.)  Title- 

page,  facing  p.  34;  (D.),%38,  39,  40,  49,  52, 


[5661 


INDEX 


53;  (C.)t  158;  (Wi.),  255;  (Ap.),  324;  see  also 
Medicine-Man. 

Holy  Ones  (N.),  349. 

- Place  (N.),  354,  355,  356. 

- Song  (Medicine  -  Song)  (D.),  see  Wakan 

Olowan. 

- Song  (Medicine  -  Song)  (Wi.),  see  M un~ 

kun  Na-wa n. 

- Star  (D.),  see  Wicapi-Wakan. 

- Story  (D.),  38. 

- Woman,  mythic  personage  (N.),  366,  367. 

-  Youth,  mythic  personage  (N.),  366,  368. 

Home-Comer  (Ki.),  see  Owik'uyain. 

Ho  Nawad  Naad,  Crow-Dance  Song  (Ar.),  201, 
209,  545. 

Honihi  -  Wotoma,  Wolf -Robe,  C.  chief,  con¬ 
tributor,  153,  155,  172,  174,  176,  561. 

Hopis,  473,  534. 

Horse,  Pony  (D.),  59;  (Pa.),  109;  (C.),  151, 
153;  (Ar.),  201,  202;  (Ki.),  329;  (Wi.),  258, 
259;  (N.),  360,  361,  362. 

Hotowasu,  Little  Buffalo  Bull,  C.  contributor, 
Cheyenne  Title-page,  facing  p.  144;  561. 

Hot  Wind  (M.),  331. 

Hovering  Hawk  (Pi.),  see  Visak-Vo-o-yim. 

Hozhonji  Song  (N.),  see  Dsic/d  Biyin,  Hogan 
Biyin,  Naestsan  Biyin. 

Hozhonji  Songs  (N.),  349. 

Hu-huk,  mythic  bird  (Kw.),  298. 

Huhuseca-ska,  White  Bone,  D.  contributor,  60, 
561. 

Huhwuhli  Nieh,  Wind -Song  (Medicine- Song) 
(Pi.),  317,  320,  551. 

Hukutgodga,  M.  contributor,  336,  561. 

Humming-bird  (M.),  330. 

Hunting-Song  (N.),  see  Dinni-e  Sin. 

Hunting  the  Moose  (Wa.),  11. 


I 

Ichebeniatha,  Ar.  Supreme  Being,  198. 

Idima,  L.  contributor,  San  Juan  and  Acoma 
Title-page,  facing  p.  444;  Laguna  Title-page, 
facing  p.  458;  561. 

Indian  Art,  xxiv.,  xxix.;  (Kw.),  298;  (N.),  348; 
(Pi.),  313;  (Pu.),  425. 

- Art  Industries  (Kw.),  298;  (N.),  348; 

(Pu.),  425. 

- Civilization,  national  policy  for,  xxxiii. 

- Children,  ability  to  draw,  xxviii.;  at 

government  boarding-school  (D.),  57. 

- Drawing,  see  Drawings  by  Indians. 

- Life,  present  condition,  xxxiii.;  tragedy 

of,  xxiii. 

- - Music,  notation  of,  vii.;  peculiarity  of 

Pueblo,  vii.;  character  of,  xxv.,  xxvi.,  xxvii., 
xxviii.;  character  of  Kwakiutl,  298;  char¬ 
acter  of  Hopi,  474;  encouragement  of  xxviii, 
xxxiii. 

- -  Names,  deeper  meaning  (Ar.),  302  (f.). 

- Poetry,  xxiv.,  xxv. 

- Prophet  (D.),  42. 

- Religious  Thought  (Pa.),  93;  compare 

also  subject-matter  on  pages  xxiv.,  xxix.; 
(Wa.),  11;  (PI.*  32;  (D.),  42,  60;  (Pa.),  93, 


96,  99,  107,  111,  112,  113;  (C),  154,  161,  162, 
164;  (Ar.),  198;  (Wi.),  253,  254,  262;  (Ap.), 
324;  (N.),  349,  364;  (Pu.),  425,  426;  (H.), 
477,  493,  494;  (Z.),  493  (f.). 

Indian  Schools,  xxviii.,  xxxiii.;  (D.),  57. 

- Singing,  general  characteristic  of,  vii. 

- Song,  as  contribution  to  art,  xxviii. 

Indian  Story  and  Song ,  by  Alice  C.  Fletcher, 
citation,  102  (f.) 

- Talent,  xxix.,  xxx. 

- Type  of  manhood,  xxx. 

Industries  (Pi.),  313;  (H.),  474. 

Insects,  in  song,  story,  myth,  custom,  or  belief,  see 
Ant,  Bee,  Beetle,  Butterfly,  “  Ripener,”  Spid¬ 
ers;  compare  also  Animals,  Birds,  Reptiles. 

Introduction,  xxi. 

- to  the  Pawnee  Songs,  96. 

Iron  Bird  (D.),  see  Zintkala  Maza. 

Iruska  (Pa.),  109,  110,  121,  122,  124,  126,  542. 

- Song  of  the  Corn-offering,  see  Iruska. 

J 

Ja chu  Naad,  Comanche-Songs  (Ar.),  199. 

Jesus,  Paiute  Prophet  thought  to  be  (D.),  42. 

Johano-ai,  sun-god  (N.),  359,  360,  361,  362. 

K 

Kainawad  Naad,  Song  of  the  Spirit-Dance 
(Ghost-Dance  Song)  (Ar.),  200,  208,  545. 

Kalakuyuwish,  name  of  totem-pole  (Kw.),  302. 

Katarina  Valenzuela,  Pi.  contributor,  317,  319, 
561. 

Katzinas,  H.  deities,  482,  494. 

Kavanghongevah,  H.  contributor,  489,  529,  561. 

Ke-chung-geka,  The  Tortoise,  mythic  person¬ 
age  (Wi.),  244. 

Keechis,  Pawnees  allied  to,  93. 

Kehare  Katzaru,  Songs  of  the  Spirit-Dance 
(Ghost-Dance  Songs)  (Pa.),  114,  115,  116, 
139,  140,  141,  143,  543. 

Kiowas,  221. 

- ,  mescal  religion  among,  162. 

Kisaka,  Song  of  Rejoicing  and  Thanksgiving 
(Pa.),  113,  136,  543. 

- ,  Woman's  Song  of  Rejoicing  (Pa.),  135. 

Kitzichta,  Song  of  the  Lance  Ceremony  (Pa.), 
113,  114,  131,  543. 

Kiva,  ceremonial  council-chamber  (H.),  477, 
479,493. 

Klalish,  Charles  James  Nowell,  Kw.  contrib¬ 
utor,  Kwakiutl  Title  -  page,  facing  p.  294; 
299,  302,  304,  561. 

Klawulac/ia,  Song  of  the  Totem-Pole  (Kw.), 
302,  304,  550. 

Kledzhi  Hatal,  Dance-Songs  from  the  Cere¬ 
mony  of  the  Night-Chant  (N.),  402,  403,  404. 

Kloskurbeh  (Wa.),  4,  5,  6,  12  (f.) 

Kluskabe  (Wa.),  12  (f.) 

Koalda  Daagya,  Begging-Song  (Ki.),  225,  226, 
235,  547. 

Koianimptiwa,  H.  contributor,  484,  508,  561. 

Korosta  Katzina  Song  (H.),  see  Korosta  Kat- 
zina  Tawi. 


f  5671 


THE  INDIANS'  BOOK 


Korosta  Katzina  Tawi,  Korosta  Katzina  Song 
(H.),  484,  508,  559. 

Ksiwhambeh,  culture  hero  of  the  Eastern 
Algonquins  (Wa.),  12. 

Kuloscap  (Wa.),  12  (f.). 

Kurahus,  Pa.  priests,  99. 

Kuwanyisnim,  H.  contributor,  488,  526,  561. 

Kwakiutls,  297. 

“  Kwe-hiu-wha-ni-ho/’  Maliseet  greeting  (Wa.), 
9. 

L 

La  Flesche,  Francis,  xxii.;  32  (f.),  39  (f.). 

La-ga-ka-nan-shke,  mythic  monster  (Wi.),  251, 
252. 

Laguna,  461. 

Lahpu,  H.  contributor,  483,  505,  561. 

Lake  Indians,  description  of  singing  of,  xxvii. 

Lakota,  synonyme  for  Dakota,  37. 

Lance  (Pa.),  114. 

- Society,  men  of  (Pa.),  113. 

- Warriors  (  Pa.),  114. 

Landry,  S.  F.,  163  (f.). 

Lavender,  Ap.  contributor,  328,  561. 

- Rivers,  Ap.  contributor,  see  Gumanchia. 

Lene  Tawi,  Flute-Song  (H.),  489,  529,  560. 

Leptahnit,  Wa.  word  for  lieutenant-chief,  7. 

Lesa-Kipiliru,  Young  Chief,  Pa.  chief,  contrib¬ 
utor,  109,  113,  116,  121,  561. 

Letakots-Lesa,  Eagle  Chief,  Pa.  chief,  contrib¬ 
utor,  96,  98,  104,  112,  113,  114,  117,  124, 
131,  139,  561. 

Leupp,  Hon.  Francis  E.,  Commissioner  of  Ind¬ 
ian  Affairs,  xxxiii. 

Lightning  Youth,  mythic  personage  (N.),  366, 
367. 

Little  Buffalo  Bull  (C.),  see  Hotowasu. 

— - Hare,  mythic  personage  (Wi.),  see 

W  ash-  ching-geka. 

- Horse  (D.),  see  Tasunke-Ciqala. 

- Man,  mythic  personage  (Kw.),  301. 

- Waters  (N.),  358. 

Lololomai,  H.  chief,  contributor,  474,  475,  476, 
477,  479,  490,  494,  495,  561. 

Lololomai's  Prayer  (H.),  490. 

Love-Song  (Wi.),  see  Wunk-hi  Na-wan. 

Love  Songs  (D.),  Wioste  Olowan. 

Lukitawika  -  wari.  Rider  -  Around  -  the  -  Great- 
Heaven- Domed-Lodge,  Pa.  contributor.  111, 
129,561. 

Lullabies  (Ki.),  see  Okum  Daagya. 

Lullaby  (C.),  see  Meshivotzi  No-otz. 

- -  (Ar.),  see  Nakahu  Naad. 

- (H.),  see  Pawuch  Tawi. 

M 

Macfta-Mahaiyu,  The  Great  Mystery  (C.),  151, 
159. 

Magpie  (C),  see  Mowihaiz. 

Mahoeva  No-otz,  Buffalo-Dance  Song  (C.), 
152,  168. 

MaKpiya  -  Tatanka,  Sky  Bull,  D.  contributor, 
59,  89,  561. 

Maiden-plants,  see  Corn-maidens. 


Male-Rain  (N.),  365,  368. 

Maliseet,  a  tribe  of  the  Wabanakis,  3. 

- - —  Dance-Song  (Wa.),  10,  23,  535. 

- Love-Song  (Wa.),  12,  13,  27,  535. 

Mallory,  James  (Wi.),  see  Wa-che-li-man-iga. 

Man-cho-sep-ka,  Black  Bear,  Wi.  scout,  259. 

Ma-  o-na.  The  Earth-Maker,  Wi.  Supreme  Being 
244,  253,  254,  262,  263,  268,  548. 

Maricopas,  one  of  the  Yuma  tribes,  339. 

Marriage  customs  (Wa.),  10. 

Masahongva,  H.  contributor,  485,  487,  517, 
523,  561. 

Masaveimah,  H.  contributor,  489,  529,  561. 

Masks,  among  the  Zunis,  430  (f.). 

- ,  ceremonial  (Kw.),  301,  302;  (Ac.),  447. 

— - ,  Katzina  (H.),  482,  483. 

Mata  No-otz,  Song  of  the  Mescal  Rite  (C),  164, 
188,  190,  192. 

Matoisto-Nakipin,  Bear-Arm-Necklace,  D.  con¬ 
tributor,  50,  71,  561. 

Mato-Nazin,  Standing  Bear,  D.  contributor,  60, 
561. 

Mato-Wankantuya,  High  Bear,  D.  contributor, 
59,  89,  561. 

Matthews,  Dr.  Washington,  347  (f.),  351,  359 
(f.),  366  (f.). 

Maza  Blaska,  Flat  Iron,  D.  chief,  contributor, 
38,  58,  88,  561. 

Mead,  Frank  (M.),  329. 

“Medicine/’  (D.),  32. 

- ceremony  (Wi.),  255. 

- Man  (PL),  32,  33;  Dakota  Title-page, 

facing  p.  34;  (D.),  44,  49;  (C),  158;  (Wi.), 
255,  256;  (Pi.),  314;  (Ap.),  324;  (N.),  365, 
366,  367;  see  also  Holy  Man. 

“ - Religion  ”  (Wi.),  255. 

- Song  (Wa.),  see  Penobscot  Medicine- 

Song. 

- (D.),  see  Wakart  Olowan. 

- (C.),  see  Nat  No-otz. 

- (Wi.),  see  Mun-kun  Na-wan. 

- (Pi,),  see  Huhwuhli  Nieh. 

- (Ap.),  324,  325,  551. 

- (M.),  see  Samadia-Suan. 

- (S.),  449, 

Medicine- Water  (L.),  451. 

Mehchichiket,  Wa.  word  for  lieutenant-chief, 
7. 

Mescal  button  (C.),  162,  163,  165. 

- Religion  (C.),  162;  (Ki.),  223. 

Meshivotzi  No-otz,  Baby-Song  (Lullaby)  (C.). 
160,  181,  545. 

Metates  (Z.),  429. 

Mice,  see  Mouse. 

Micmac,  a  tribe  of  the  Wabanakis,  3. 

Milky  Way  (Pa.),  99;  see  also  Tau-muk. 

Missionaries,  Roman  Catholic,  succoring  wound¬ 
ed  Indians  (D.),  43. 

Mocftta  -  Wontz  -  tz,  Starving  Elk,  C.  contrib¬ 
utor,  158,  561 . 

Mocking-bird  (Y.),  340,  341. 

Mojave- Apaches,  329. 

Mojaves,  one  of  the  Yuma  tribes,  339. 

Mokis,  see  Hopis. 

Moon  (Pa.),  94;  (C.),  151,  156;  (Pi.),  316. 


[568] 


INDEX 


Mooney,  James,  41  (f.),  535. 

Moose  (Wa.),  H,  12. 

Moqtti,  363. 

Moquis,  see  Hopis. 

Morning  Song  (C.),  see  Hohiotsitsi  No-otz. 

- Star  (Pa.),  93,  94,  99,  100,  101,  102, 

103,  104,  107. 

- Clan  (Pa.),  99,  100. 

Mother-Corn  (Pa.),  97  (f.),  103,  107,  108. 

- Earth  (N.),  372. 

- Moon  (Pa.),  110,  116. 

Mountain  Lion,  mythic  Star  Beast  (Pa.),  101. 

- Song  (N.),  see  Dsic/zl  Biyin. 

- Songs  (N.),  see  Dsichl  Biyin. 

Mountains,  sacred  (N.),  see  Sacred  Mountains. 

Mouse,  Mice  (Wi.),  253;  (Kw.),  300,  301. 

Mowihaiz,  Magpie,  C.  contributor,  164,  188, 

192,  561. 

Mun-kun  Na-wan,  Holy  Song  (Medicine-Song) 
(Wi.),  254,  255,  256,  270,  274,  548,  549. 

Murie,  James  R.  (Pa.),  see  Sakuruta. 

Music,  Indian,  see  Indian  Music. 

Muyingwa,  H.  deity,  479. 

Mystery-power  (D.),  39,  40. 

N 

Nabilase,  Jessie  Sage,  Ar.  contributor,  201,  211, 

561. 

Naestsan  Biyin,  Song  of  the  Earth  (Hozhonji 
Song)  (N.),  371,  372,  417,  556. 

Nagi,  D.  word  for  soul,  61. 

Nahios-si,  Three  Fingers,  C.  chief,  contributor, 

156,  157,  159,  160,  178,  179,  180,  561. 

Nai  No-otz,  Song  of  Healing  (Medicine-Song) 

(C.),  159,  160,  179,  544. 

Nakahu  Naad,  Lullaby  (Ar.),  201,  211,  545. 

Nakos,  Sage,  Ar.  chief,  contributor,  199,  200, 

204,  206,  561. 

Naskan,  beautiful  woven  blankets  (N.),  361. 

Navajos,  347;  singing  of,  xxviii. 

Nawadek,  Susie  Sage,  Ar.  contributor,  201,  211, 

561. 

Naye-e  Sin;  War-Song  (N.),  362,  363,  393,  554. 

Nayenezrani,  N.  deity,  103  (f.),  349,  359,  362. 

Nek-hu-wi-ka,  South  Wind,  Jacob  Russell,  Wi. 
contributor,  244,  254,  265,  270,  561. 

Nicolar,  Joseph,  Wa.  contributor,  4,  561. 

Niltshi,  The  Wind,  N.  personification,  359. 

Nolmihigon,  Wa.  word  for  clown,  7,  8. 

Nowell,  Charles  James  (Kw.),  see  Klalish. 

N’Skawewintuagunul,  Songs  of  Greeting  (Wa.), 

7 ;  (for  music,  see  Penobscot  Song  of  Greeting, 
Passamaquoddy  Song  of  Greeting). 

Nu-u-sinim  No-otz,  Hand-Game  Songs  (C.),  161, 

182,  183,  184,  185,  186,  187. 

O 

Ockaya,  Corn-Grinding  Songs  (Z.),  430,  431, 

433,  435,  437,  556,  557. 

Offering,  ceremony  (C.),  151. 

Ogallalla,  members  of  the  band,  contributors 
of  D.  songs,  38. 

Okicize  Olowan,  War-Song  (D.),  59,  60,  89,  541. 

[5691 


Okum  Daagya,  Lullabies  (Ki.),  228,  229,  238, 
239,  547. 

Old  Chief’s  Song  (Z.),  see  Thlah  Hewe. 

- Tale  (C.),  158. 

Olowan,  Song  (D.),  55,  79,  540. 

Omaha  Dance  (D.),  55,  56. 

- Dance- Songs  (D.),  see  Omaha  Wacipi 

Olowan. 

- -  Wacipi  Olowan,  Omaha  Dance -Songs 

(D.),  55,  56,  80,  81,  540. 

One-Above  (Pa.),  see  Tirawa. 

One-On-Higb  (Ar.),  see  Ichebeniatha. 
One-Who-Never-Died  (M.),  see  Sekala  Ka- 
amja. 

Uraibi,  H.  village,  474,  483,  490,  494. 

Orani,  possible  derivation  of  (N.),  366  (f.). 
Organizations  of  the  Plains  Indians,  31. 

Otter  (Pa.),  97,  98,  101;  (Wi.),  256. 
Owik'uyain,  The  Home -Comer,  Ki.  contrib¬ 
utor,  223,  228,  236,  238,  239,  561. 

Ohwiwi  No-otz,  Song  of  the  Offering  Ceremony 
(Sun-Dance  Song)  (C.),  151,  166. 

P 

Painted  Desert  (H.),  490. 

Paiute  (D.),  42,  44,  45. 

Pajoka,  Wi.  name  for  Comanche,  260. 

Pani,  synonyme  for  Pawnee,  93. 

Parfleche,  satchel  of  dressed  hide,  xv. 
Passamaquoddy,  a  tribe  of  the  Wabanakis,  3. 

- _  Dance-Song  (Wa.),  10,  24,  25,  26,  535. 

- Song  of  Greeting  (Wa.),  16. 

Pathway  of  Departed  Spirits,  Pa.  designation 
of  the  Milky  Way,  99. 

“  Pawnee  Shooter,”  a  Wi.  Indian,  258. 
Pawnees,  93. 

Pellote,  mescal  button  (C.),  162. 

Pemmican,  Indian  dish  (D.),  48. 

Penobscot,  a  tribe  of  the  Wabanakis,  3. 

- Barter  Dance-Song  (Wa.),  8,  17. 

- Dance-Song  (Wa.),  9,  19. 

— - Medicine-Song  (Wa.),  9,  21. 

- Song  of  Greeting  (Wa.),  14,  15. 

- War-Dance  Song  (Wa.),  8,  18. 

People  of  Peace,  H.  designation  of  themselves, 
473,  490. 

Peyote  (C.),  see  Pellote. 

Pimas,  3 13. 

“Pitistchi”  (N.),  361. 

Plains  Indians,  31,  41,  42,  93,  94;  singing  of, 
xxviii. 

Plum-tree,  as  symbol  (Ki.),  226. 

Pony  (D.),  see  Horse. 

Potine,  White  Beaver,  Ki.  contributor,  225, 561. 
Prayer,  Prayers,  Praying,  xxiii.,  xxiv.;  (PI.), 
33;  (D.),  39;  (Pa.),  113;  (C),  149,  151,  152, 
154,  161,  162;  (N.),  362,  364,  369;  (H.),  490, 
491,  493,  494. 

Prayer  by  the  Great  Waters  (N.),  364. 
Prayer-Sticks  (H.),  xxiii.,  492. 

Prince,  Dr.  J.  Dynely,  535. 

Prophet,  Paiute,  of  the  Spirit-Dance  Religion 
(D.),  42,  44,  45;  (Pa.),  112  (f.);  see  also 
Father. 


THE  INDIANS’  BOOK 


Pueblo,  Pueblos  (Pu.),  425,  426;  (Z.),  429;  (S.), 
447;  (L.),  461;  (H.),  473,  533. 

Pueblo  Indians,  rhythmical  peculiarity  of  music, 
vii.;  singing,  xxviii.;  hunting,  369  (f.). 

- 425,  426,  533. 

Puva,  H.  word  for  sleep,  480. 

Puwuch  Tawi,  Lullaby  (H.),  480,  498,  558. 

R 

Rabbit-skin,  robes  of,  worn  by  Paiutes  (D.), 

45. 

Rain,  male  and  female  (N.),  365,  368. 

Rainbow  (N.),  352,  354,  356,  367;  (Z.),  431, 
432. 

Rainbow-Youth  (Z.),  431,  432. 

Rain-Chant  (N.),  see  Tro  Hatal. 

- Makers  (Z.),  430. 

- Mountain  (N.),  365. 

- that-Stands  (H.),  479. 

- Youth  (N.),  365. 

Rains- Enfolded,  a  Sacred  Bundle  (Pa.),  107. 
Rattle  (Wa.),  9;  (D.),  50;  (C.),  164,  165;  (H.), 
482. 

Raven  (Kw.),  299,  300,  301,  302. 

Red  Fox  (C.),  152,  153. 

- Fox  Society  (C.),  152. 

- Shields,  a  society  (G.),  152. 

- Shields'  Dance  (C.),  152. 

-  Shields  Society  (C.),  152. 

- Star,  mythic  Star  Breast  (Pa.),  101. 

Religion  (D.),  41,  42;  (Pa.),  93?  (C.),  162,  163, 

164;  (Ar.),  198. 

Reptiles,  see  Snake,  Turtle. 

Rescuer  (Pa.),  111. 

Reservation,  system,  xxxiii.;  Pine  Ridge,  38; 
Rosebud,  38,  45;  Cheyenne  and  Arapaho, 

197;  Apache,  323;  Yuma,  339,  340  (f.). 

Rider- Around-the-Great-Heaven-Domed-Lodge 
(Pa.),  see  Lukitawika-wari. 

Ripener,  an  insect  (N.),  371. 

Rite,  Rites  (D.),  42,  61;  (C.),  162,  163;  (Ki.), 
228;  (N.),  348;  (H.),  489. 

“River  Indians"  (Y.),  339. 

Roosevelt,  Theodore,  xix,  329,  476  (f.). 

Rosebud  reservation  (D.),  38,  45. 

Running  Whirlwind  (Ar.),  202. 

S 

Sa-a  nara't,  N.  prayer-phrase,  372,  552. 

Sacred  Bow  (C.),  156,  157. 

- Bundles  (Pa.),  99,  100,  107. 

- corn-meal  (N.),  367. 

- Mountains  (N.),  351. 

Sagam,  Wa.  word  for  chief,  7. 

Sage,  Ar.  chief,  see  Nakos. 

- Jessie  (Ar.),  see  Nabilase. 

- Susie  (Ar.),  see  Nawadek. 

Sah-mount,  Samon,  Ki.  contributor,  225,  232, 

561. 

Sakipiriru,  Young  Dog  Dance-Song  (Pa.),  112, 

131,  543. 

Sakuruta,  Coming  Sun,  James  R.  Murie,  Pa. 
contributor,  93  (f.),  99,  Cradle-Board  for  the 

[  5701 


Morning-Star  Clan,  facing  p.  102;  107,  110, 
115,  120,  122,  126,561. 

Salis,  John  (Wa.),  see  Asawhis. 

Samadia-Suan  Medicine-Song  (M.),  336,  337. 

Samon  (Ki.),  see  Sah-mount. 

Sampson,  Peter  (Wi.),  see  Chash-chunk-a. 

Sand-pictures  (N.),  367. 

San  Juan,  447. 

Schindler,  Kurt,  vii. 

Sekala  Ka-amja,  Son  of  God,  The-One-Who- 
Never-Died,  mythic  personage  (M.),  331. 

Seris,  one  of  the  Yuma  tribes,  339. 

Seven  cities  of  Cibola,  identical  with  Z.  habi¬ 
tations,  429. 

Shawnee,  Maud  (Ar. ),  see  Wageoh. 

She-Who-Changeth  (N.),  see  Estsan-Natlehi. 

Shoko  Otiikwe,  Corn-Dance  Song  (Z.),  432,  440, 
557. 

“Short  Buffalo  Bult  "  (D.),  44. 

Short  Bull  (D.),  see  Tatanka-Ptecila. 

— —  Bull's  Narrative  (D.),  45. 

Shoshone  group,  Ki.  language  resembles  that 
of,  221. 

Shoshones,  Northern  Arapahos  affiliated  with, 
197. 

Shower-maidens  (H.),  486,  487. 

Siouan  family,  Wi.  a  branch  of,  243. 

Sioux  (D.),  37. 

Sisnajinni,  N.  sacred  mountain,  351,  353,  354, 
355,  356,  372,  552. 

Skar-mu-nal,  corn  (Wa.),  6. 

Skidi  band.  Pa.  songs  spelled  according  to  the 
pronunciation  of,  93. 

Skiriki,  Coyote  Warrior-Song  (Pa.),  Ill,  112, 
129,  542. 

Sky  Bull  (D.),  see  Malipiya-Tatanka. 

Slayer  of  the  Anaye  (N.),  see  Nayenezrani. 

S'moganis,  Wa.  word  for  head  -  warrior,  or 
captain,  7. 

Smoking,  ceremonial,  xxiii.;  (D.),  53. 

Snake  (M.),  332. 

Snake  ceremony  (H.),  489. 

Societies  (PI.),  31;  compare  also  Chiefs'  So¬ 
ciety,  Fox  Men,  Dog  Soldiers,  Sunka  Olowarc, 
Tasunke-ska  Olowan,  Tokala  Olowan,  Fox 
Society,  White-horse  Society,  Bear  Society, 
Tawi’  Kuruks,  Dog  Society,  Lance  Society, 
Kitzic/ita,  Red  Shields  Society,  Mahoeva  No- 
otz,  Wuc/itchse  Etan  No-otz,  Red  Fox  So¬ 
ciety,  Hinimiyotzu,  Hichaac/iuthi,  Club  So¬ 
ciety,  Gray  Flute  Society. 

Somurturgigu-a,  M.  contributor,  337,  561. 

Son  of  God  (M.),  see  Sekala  Ka-amja. 

Song,  in  Indian  life,  xxii.,  xxiv.;  with  the 
Dakotas,  60;  with  the  Kwakiutls,  298;  with 
the  Pimas,  313,  314;  with  the  Navajos,  348, 
349,  350;  with  the  Hoois,  473,  475,  481,  483, 
484. 

- (D.),  see  Olowan. 

- from  the  Ceremony  of  the  Mountain- 

Chant  (N.),  see  Dsic/dyidje  Hatal. 

- of  Healing  (Medicine  Song)  (C.),  see  Nai 

No-otz. 

- —  Rejoicing  and  Thanksgiving  (Pa.),  see 

Kisaka. 


INDEX 


Song  of  the  Antelope  Ceremony  (Ki.)i  see 
T'a'pko  Daagya. 

- Bear  Society  (Pa.)*  see  Tawi’ 

Kuruks. 

- Bltie-Corn  Dance  (Z.),  see  Thlah 

Hewe. 

- Bow-and- Arrow  Society  (C.),  see 

Honimiyotzu. 

- Buffalo-Dance  (C.),  see  Mahoeva 

No-otz. 

- Buffalo-Hide  Ceremony  (Ar.),  see 

Hasse-hi  Naad. 

- Club  Society  (Ar.),  see  Hichaa- 

chuthi.  , 

- Dog-Feast  (D.),  see  Sunka  Olowan. 

- Dog  Society  (D.),  see  Sunka  Olowan. 

- Earth  (Hozhonji  Song)  (N.),  see 

Naestsan  Biyin. 

- Hare  (Wi.),  see  Wash-ching-geka 

Na-wa’  Ni-na. 

— - Hogans  (Hozhonji  Song)  (N.),  see 

Hogan  Biyin. 

- Hopi  Chief  (H.),  474. 

- Horse  (N.),  see  Hlin  Biyin. 

- Lance  Ceremony  (Pa.),  see  Kit- 

zichta. 

- Mescal  Rite  (Ar.),  see  Ha.cha.ya.chv 

Naad. 

- (Ki.),  133. 

- Mocking-bird  (Y.),  see  Arowp. 

- Offering  Ceremony  (C. ),  see  Ohwiwi 

No-otz. 

- Rain-Chant  (N‘.),  see  Tro  Hatal. 

- - Recr  Fox  Society  (C.),  see  'Wuch- 

tchse  Etan  No-otz. 

- Seer  (D.),  see  Wicaia-Atawan  Olo¬ 
wan. 

- Spirit-Dance  (Ghost-Dance  Song) 

(Ar.),  see  Kainawad  Naad. 

- Sun  (Wi.),  see  Wi-la  Na-wa'  Ni-na. 

- Totem-Pole  (Kw.),  see  Klawulac/za. 

- White -Horse  Society  (D.),  see 

Tasunke-ska  Olowan. 

- Wolf  (D.)t  54. 

- World  (Pi.),  see  Chuhwuht. 

- Victory  (C),  see  Aotzi  No-otz. 

- sung  by  Geronimo  (Ap.),  327. 

- —  to  the  Earth-Maker  (Wi.),  see  Ma-o-na. 

Songs,  contributing  of,  xxi.,  xxii.,  xxiii.;  re¬ 
cording  of,  xxii.;  sacred  to  occasions,  xxii.; 
Pa.  stanzas  in,  100  (f.). 

- of  Greeting  (Wa.),  see  N'Skawewintua- 

gunul. 

- Loneliness  (Wa.),  12. 

- the  Dakotas,  60. 

- Fox  Society  (D.),  see  Tokala  Olo¬ 
wan. 

- Iruska  (Pa.),  see  Iruska. 

- Spirit-Dance  (Ghost-Dance  Songs) 

(D.),  see  Wanagi  Wacipi  Olowan. 

- - - Spirit-Dance  (Ghost-Dance  Songs) 

(Pa.),  see  Kehare  Katzaru. 

- Victory  (C.),  154. 

“  Sons  of  the  River  "  (Y.),  339. 

Sorrel  Horse  (D.),  see  Taiunke-Hinia. 

36 


South  Wind  (Wi.),  see  Nek-hu-wi-ka. 

Southern  Star  (Pa.),  99  (f.). 

Spanish  explorers  (Pu.),  425. 

Spiders  (Wi.),  247. 

Spirit,  Spirits  (PI.),  31;  (D.),  39,  46,  53,  61,  62; 
(C),  161,  165;  (Ar.),  200,  202;  (Wi.),  244, 
246,  253,  254,  262,  263;  (Ap.),  324;  (N.),  353; 
compare  also  Dream,  Trance,  Vision. 

-  animal  (PI.),  31. 

-  camp.  Spirit-encampment  (D.),  45,  46. 

- companions  (D.),  46. 

- Dance  (D.),  44,  48;  (Ar.),  198,  200; 

(Ki.),  223;  see  also  (D.)  History  of  the  Spirit- 
Dance,  Wanagi  Wacipi  Olowan. 

- Land  (D.),  45. 

- man  (D.),  45. 

- world  (D.),  42,  43,  48;  (Ar.),  200. 

Standing  Bear  (D.),  see  Mato-Nazin. 

Standing  Rain,  Pa.  name  for  maiden,  104. 

Star,  a  D.  Indian,  see  Wicapi. 

-  of  Morning  (Pa.),  116. 

- Evening  (Pa.),  116. 

Starving  Elk  (C.),  see  Moc/ita-Wontz-tz. 

“  Step,”  Pa.  designation  of  stanza,  100  (f.). 
Stevenson,  James  (N.),  347  (f.),  365. 

- ,  Matilda  Cox  (Z.),  429,  430;  (H.),  493; 

535. 

Stories  of  Wak-chung-kaka  (Wi.),  245. 

- - -  and  Wash-ching-geka 

(Wi.),  244. 

- Wash-ching-geka  (Wi.),  247. 

Story  of  Gomoidema  Pokoma-Kiaka  (M.),  330. 

- the  First  Mother  (Wa.),  4. 

- Moose  (Wa.),  12. 

- Two  Brothers  (N.),  359. 

- Wakiash  and  the  First  Totem-Pole 

(Kw.),  299;  for  stories,  compare  also  (D.), 
Holy  Story;  (D.),  Short  Bull’s  Narrative; 
(Pa.),  Morning  Star  and  the  Evening  Star; 
(C.),  Old  Tale;  (Wi.),  True  Story;  also  stories 
connected  with  the  various  songs,  passim. 

Sun  (Pa.),  94,  96,  103;  (C),  151,  165;  (Ar.), 
198;  (Wi.),  250;  (Pi.),  316;  (M.),  331;  (Pu.), 
426;  (H.),  493. 

Sun-Dance  (C.),  151;  (Ar.),  198. 

- Song  (C.),  151;  (Ar.),  198. 

Sun-Down-Shining  (H.),  see  Tawakwaptiwa. 

- Father,  Z.  deity,  493  (f.). 

Sungmanitu  Olowan,  Wolf  Song  (D.),  54,  78. 
Sunka  Olowan,  Song  of  the  Dog-Feast  (D.), 
58,  59,  88,  541. 

- ,  Song  of  the  Dog  Society  (D.), 

50,  69. 

Supreme  Being  (PI.),  32;  (C.),  154. 

Surly  Walker  (Wi.),  see  Wa-che-li-man-iga. 
Swallow  (N.),  365,  366;  (Z.),  431. 

Sweat-Lodge  (D.),  52. 

Swinging-Song  (C.),  see  Wawahi  No-otz. 
Symbolism  of  color  (N.),  see  subject-matter 
on  pages  351,  371. 

T 

Talaskwaptiwa  (H.),  491,  492,  493. 

Tanoan  stock,  people  of  (S.),  447. 


[571] 


THE  INDIANS'  BOOK 


T’apk’o  Daagya,  Song  of  the  Antelope  Cere¬ 
mony  (Ki.),  226,  228,  236,  547. 

Taiunke  -  Ciqala,  Little  Horse,  D.  contributor, 
55,  57,  79,  80,  561. 

Tasunke-Hinas,  Sorrel  Horse,  D.  contributor, 
59,  89,  561. 

Tasunke-Hinto,  Blue  Horse,  D.  chief,  contrib¬ 
utor,  54,  78,  561. 

Tasunke-Ska  Olowan,  Song  of  the  White-Horse 
Society  (D.),  50,  71,  537. 

Tatanka-Hinapawr,  Buffalo-Appearing,  D.  con¬ 
tributor*  57,  561. 

Ta tanka  -  Ptecila,  Short  Bull,  D.  contributor, 
Dakota  Title-page,  facing  p.  34;  44,  47,  49, 
63,  66,  67,  68,  69,  561. 

Tau-muk,  the  Milky  Way  (Pi.),  316. 

Tawakwaptiwa,  H.  contributor,  480,  500,  561. 

Tawi’  Kuruks,  Song  of  the  Bear  Society  (Pa.), 
104,  105,  106,  117,  541. 

- , - (Pa.), 


107,  108,  120,  542. 

T'e-ne-t‘e,  Eagle  Chief,  Ki.  chief,  contributor, 
224,  226,  229,  231,  236,  240,  561. 

“  The  Red  Man,”  book  of  Penobscot  legends 
(Wa.),  4. 

Thlah  Hewe,  Song  of  the  Blue-Corn  Dance  (Z.), 


432,  442,  557. 


Thought,  Indians’  belief  iri  the  power  of  (Pa.), 
102  (f.). 

Three  Fingers  (C.),  see  Nahios-si. 
Thunder-Bird  (Wi.),  254,  298. 

Timber-Men,  wood-rats  (C.),  160. 

Tipi,  D.  word  for  the  native  dwelling  of  the 
Plains  Indians,  39. 

Tirawa,  Atius  Tirawa,  Pa.  Supreme  Being,  94, 
96,  97,  98,  99,  104,  107,  110,  111,  112,  113, 
115. 


Tirirak-tawirus  (Pa.),  111. 

Tobacco  (Wa.),  6;  (Wi.),  246,  262. 
Tobajischini,  N.  deity,  359. 

Tokala  Olowan,  Song  of  the  Fox  Society  (D.), 
51,  73,  537. 

- ,  Songs  of  the  Fox  Society  (D.), 

51. 


Tokala  Wacipi  Olowan,  Dance-Song  of  the  Fox 
Society  (D.),  51,  75,  537. 

Tortoise,  mythic  personage  (Wi.),  see  Ke- 
chung-geka. 

Totem -Pole  (Kw.),  298;  see  also  Story  of 
Wakiash  and  the  First  Totem-Pole. 

To’yallanne,  sacred  mountain  (Z.),  429,  430. 

Trance  (D.),  42,  43,  45,  48;  (Pa.),  112;  com¬ 
pare  also.  Dream,  Spirit,  Vision. 

Translations,  the  making  of,  xxiv.,  xxv.;  in¬ 
terlinear,  535. 

Tro  Hatal,  Song  of  the  Rain-Chant  (N.),  365, 
399  555 

True  Story  (Wi.),  262. 

TsicAnaodicfili,  mythic  mountain  (N.),  351. 

Tsilc/ike  Digini,  The  Holy  Youth,  mythic  per¬ 
sonage  (N.),  366. 

TsodsicAl,  sacred  mountain  (N.),  351,  353,  372, 
552. 

Tuari,  L.  contributor,  463,  469,  561. 

Tuari’s  Song  (L.),  463,  469. 


Turquoise  Horse  of  Johano-ai  (N.),  362. 

- Maiden,  mythic  personage  (N.),  351. 

360. 

- Youth,  mythic  personage  (N.),  351. 

Turtle,  as  symbol  of  the  Earth  (Ar.),  200. 

- Lake,  mythic  lake  (Ar.),  200. 

Twilight  Youth,  mythic  personage  (N.),  351. 

U 

Utar-Mur-wa-yeh,  tobacco  (Wa.),  6. 

Ute  (N.),  363. 

V 

Very-Good  (H.),  see  Lololomai. 

Victory  Song  (Wi.),  see  Wak-je  Na-wan. 
Virgin  corn  (H.),  see  Corn-maidens. 
Visak-Vo-o-yim,  Hovering  Hawk,  Pi.  contrib¬ 
utor,  315,  318,  561. 

Vision,  Visions  (D.),  43,  45,  46,  49,  60,  61;  (Pa.), 
96;  (C),  159,  162,  164;  (Wi.),  254;  compare 
also,  Dream,  Spirit,  Trance. 

Voth,  Rev.  H.  R.  (H.),  478,  535. 


W 

Waatina  Bichut,  Black  Shirt,  Ar.  contributor, 
Arapaho  Title-page,  facing  p.  194;  561. 

Wabanakis,  3. 

Waces,  Pawnees  allied  to,  93. 

Wa-che-li-man-iga,  Surly  Walker,  James  Mal¬ 
lory,  Wi.  contributor,  259,  282,  284,  561. 

Wa-cho-pi-ni-Shi-shik,  an  evil  spirit  (Wi.),  244. 

Wageoh,  Maud  Shawnee,  Ar.  contributor,  201, 
211,  561. 

Wa-gi-tt’eh  Na-wan,  Wailing-Song  (Wi.),  260, 
288,  550. 

Wai-kun,  Fable  (Wi.),  253,  266,  548. 

Wailing-Song  (Wi.),  see  Wa-gi-tt’eh. 

Wakan  (D.),  32,  61. 

Wakan  Olowan,  Holy  Song  (D,),  52,  77,  537, 
538,  539. 

Wakan-Tanka,  D.  Supreme  Being,  32,  38,  39, 
40,  60,  61,  62. 

Wakashan,  linguistic  branch  of  Northwest 
coast  Indians,  297. 

Wak-chung-kaka,  mythic  personage  (Wi.), 
244,  245,  246. 

Wakiash,  mythic  Kw.  chief,  see  Story  of 
Wakiash  and  the  First  Totem-Pole. 

Wak-je  Na-wan,  Victory  Song  (Wi.),  260,  298, 
550. 

Walapais,  one  of  the  Yuma  tribes,  339. 

Wambli-Waste,  Good -Eagle,  D.  contributor, 
52,  77,  561. 

Wampum,  sending  of,  in  token  of  offer  of  mar¬ 
riage  (Wa.),  9. 

Wanagi  Wacipi  Olowan,  Songs  of  the  Spirit- 
Dance  (Ghost-Dance  Songs)  (D.),  47,  48,  63, 
66,  67,  536. 

War-Dance  of  the  Iruska  (Pa.),  see  Iruska. 

War-Path  (C.),  154. 

- Song  (Ki.),  see  Gwu  Daagya. 

War-Song  (D.),  see  Okicize  Olowan. 

- (N.),  see  Naye-e  Sin. 


[572] 


INDEX 


War-Songs  (C. ),  154. 

Warrior-Songs  (Wi.),  see  He-lush-ka  Na-wan. 
Wash-ching-ge  (Wi.),  250. 

W ash-ching-geka,  mythic  personage  (Wi.),  247, 
253. 

W ash-ching-geka  Nawa’  Nina,  Song  of  the 
Hare  (Wi.),  249,  264,  548. 

Wave  (Wi.),  see  Chash-chtink-a. 

Wawahi  No-otz,  Swinging-Song  (C.),  160,  180, 
545. 

Wa-zi-chunk,  mythic  tree  (Wi.),  252. 

Webster,  Cappie  (Ar.),  see  Gelbini. 

West  Wind  (D.),  54. 

Whe-e-yoni-sin,  sorcerous  songs  of  a  foe  (N.), 
362. 

White  Beaver  (Ki.),  see  Potine. 

-  Bone  (D.),  see  Huhuseca-ska. 

- Buffalo  Woman  (C.),  see  Wowesta. 

- Cap  (C.),  see  Wupcha-e. 

- Horn  (Ar.),  202. 

— - Horse  Society  (D.),  61. 

White-Shell-Woman  (N.),  see  Yolkai-Estsan. 
White  Star,  mythic  Star  Beast  (Pa.),  101. 

- Star  Woman,  Pa.  designation  of  the 

Evening  Star,  99. 

Wicapi,  Star,  D.  contributor,  51,  73,  75,  561. 
Wicapi-Wakan,  Holy  Star,  Julia  Yellow-Hair, 
D.  contributor,  57,  86,  561. 

W icasa- Atawan  Olowan,  Song  of  the  Seer  (D.), 
49,68,536. 

Wicasa-Wakan,  Holy  Man  (D.),  32. 

Wichitas,  Pawnees  allied  to,  93. 
Wihu-Hwaihu-O-Usz  (C.),  see  Hiamovi. 
Wihunahe,  Chief  Woman  C.  contributor,  xv., 
160,  181,  561. 

Wi-la  Na-wa’  Ni-na,  Song  of  the  Sun  (Wi.), 
250,  265,  548. 

Wild-Cat,  mythic  Star  Beast  (Pa.),  101. 
Wild-cherry  tree,  as  symbol  (Ki.),  226. 

Wind  (N.),  see  Niltshi. 

Wind-Song  (Medicine-Song)  (Pi.),  see  Huh- 
wuhli  Nieh. 

Wind-Songs  (Ki.),  see  Gomda  Daagya. 
Winnebagos,  243. 

Wioste  Olowan,  Love-Songs  (D.),  56,  57,  58, 
82,  83,  84,  85,  86,  540,  541. 

Wolf,  Wolves  (D.),  54;  (Pa.),  93;  (C.),  153,  155 
(Ar.),  199. 

- -,  mythic  Star  Beast  (Pa.),  101. 

“  Wolf,"  name  for  Pawnees,  93. 

Wolf-Robe  (C.),  see  Honihi-Wotoma. 

Wolf  Song  (D.),  see  Sungmanitu  Olowan. 


Wolf  Song,  or  Comanche-Song  (Ar.),  see  Hache- 
hi  Naad. 

Woman’s  Song  of  Rejoicing  (Pa.),  see  Kisaka. 

Wonder-Water  (L.),  461,  462. 

Wooden  Lance  (Ki.),  see  Apiatan. 

Wood-rats  (C.),  160. 

Wopila  Olowan,  Song  of  Thanksgiving  (D.), 
reference,  59. 

World,  Worlds  (D.),  46;  (Ar.),  200;  (Wi.),  256, 
262;  (Kw.),  300;  (Pi.),  314,  315,  316;  (M.), 
330;  (N.),  351,  371;  (Z.),  430;  (H.),  494,  533. 

World-Quarter  Gods,  mythic  Star  Beasts  (Pa.), 
101 ,  103. 

Wounded  Knee,  battle  of  (D.),  43. 

Wowesta,  White  Buffalo  Woman,  C.  contrib¬ 
utor,  Things  of  the  Olden  Time,  frontispiece; 
561. 

WucAtchse  Etan  No-otz,  Song  of  the  Red  Fox 
Society  (C),  152,  153,  169,  544. 

Wuh-te-huk,  mythic  personage  (Wi.),  244. 

Wunk-hi  Na-wan,  Love-Song  (Wi.),  261,  262, 
291,  292,  550. 

Wupcha-e,  White  Cap,  C.  contributor,  190,  561. 

Wuwuchim-Chant  (H.),  see  Wuwuchim  Tawi. 

Wuwuchim  Tawi,  Wuwuchim-Chant  (H.),  479, 
495,  558. 

WwTvachtm-yungya  (H.),  477  (f.). 


Y 

Yaka-Hano  Gatzina  Yoni,  Corn-People  Gat- 
zina  Songs  (Ac.),  447,  451,  453,  456. 

“  Yebitshai  Dance  ”  (N.),  see  Kledzhi  Hatal. 
Yellow-Hair,  D.  chief,  58,  259,  260. 

- Hair,  Julia  (D.),  see  Wicapi-Wakan. 

Yellow  Line,  H.  designation  of  the  dawn,  486, 
493. 

— - -  Star,  mythic  Star  Beast  (Pa.),  101. 

Yolkai-Estsan,  N.  deity,  359. 

Young  Chief  (Pa.),  see  Lesa-Kipiliru. 

- Dog  Dance-Song  (Pa.),  see  Sakipirfru. 

- Eagle  (L.),  see  Tuari. 

Youth  of  Cannel  Coal,  mythic  personage  (N.), 

Yumas,  339,  340. 

Yusun,  Ap.  Supreme  Being,  324. 

Z 

Zintkala  Maza,  Iron  Bird,  D.  contributor,  60, 
561. 

Zuni,  429,  533. 


ET  us  recognize  in  all  things  the  value  of  our  opposites.  Old  age 
seems  justly  to  be  the  summing-time  of  life,  the  only  philosophic 
decade;  yet  should  we  never  forget  the  child  nor  the  child-race  who 
live  so  near  to  God  that  truth  flows  to  them  from  a  still  untainted 
channel.  '  For  of  such  is  the  Kingdom  of  Heaven.  Do  we  tend  to 
become  a  people  continually  busy  with  the  world's  affairs,  let  us  remember  that 
the  sources  of  spiritual  truth  have  arisen  oftenest  among  the  contemplative  peoples 
of  the  Orient,  and  let  us  then  turn  to  the  contemplative  dark-skinned  natives  of 
our  own  land.  If  not  in  the  hope  and  expectancy  that  are  born  of  friendship,  at 
least  with  tolerance  and  without  scepticism  let  us  stop  long  enough  to  hear  the 
broken  fragments  of  a  message  which  they  might  have  brought  in  its  entirety  to  all 
their  brethren  in  the  world.” — From  Genius  and  Primitive  Man . 


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